to elicit the approbation of Englishmen—especially of such as love the French wines, and at the same time look back with compassionate sympathy at the sufferings of their Anglo-Saxon progenitors of the middle ages. The three pieces that follow, ana divide this spirited piece from the second finale, are an admirable scene for Marian; a duet (in the sparkling; manner, or something nearly akin to it, of Rossini), for Marian and Alice; and a ballad for the Sheriff. In the seem—" Hail, happy morn!"—Marian prays for the success of her lover in the trial of marksmanship at Nottingham fair, and, alternately despondent and hopeful, ends with expressing full confidence in his triumph; in the duet—" To the fair, to the fair !"—the two girls exultingly dilate upon the sights they are about to witness at the approaching festival; in the ballad—" From childhood's dawn" (a sentimental ballad, not uncngaging, but out of sorts with what precedes and follows it, and, therefore, where it stands, comparatively lifeless) the Sheriff, moved by the contemplation of his daughter's loveliness, reverts to the period when her mother, long since departed, wore the aspect ol beauty like herself—

"In thy blooming face
I delight to trace
The radiance thy mother wore.
In the noon of youth she sank to sleep,
And left me alone to weep;
Hut I dream that in thee she is living

The scena and duet, though less individual (less purely English) than many other parts of the work, as abstract compositions are perfect; but in the ballad we cannot think the musician has kept pace with the author of the words. The second finale is the masterpiece of the opera and of its composer. It is prodigiously long, but graphic and interesting, alike in a dramatic and a musical oense, from one end to the other. It includes all the incidents of the fair (which we cannot stop to recapitulate) and among the most prominent the dance* and games of the people; the archery trial at which the supposititious Locksley comes off victor; the detection of Robin Hood by the Sompnour, disguised as a mendicant friar, and boring every passer-by with his " Pax vobiscum" and "Date nobis," the forcible separation, by order of the Sheriff, of Marian and Robin, and the consignment of the latter to prison in Nottinghom Castle. The whole of this is truly admirable. The music to the round-dance (variations on what is technically designated a "ground bass") might have been written by Furcell, or even have figured in Handel's Suites; the tilt at the Quintain could hardly be more characteristic ; while the dance and game of "Iloodman blind" is of itself a piece of concerted music almost worthy to be ranked as a finale. Equally stirring and full of character is the trial of marksmanship; eminently beautiful the quasi-unaccompanied quintet (" Her care's at end ), when Robin Hood is assured of a reward far more precious than the prize won by his skill with the bow and arrow; graphic and original the detection of the outlaw by his enemy, with the strange vocal intervals on the words, "the vile Robin Hood ;" and inferior in spirit to no other part of the finale, the last movement, " Quick, tear them asunder," in which the lovers are separated from each other, while Marian's constant "True love, true love" is iterated and reiterated with passionate earnestness, but in vain. Throughout the entire finale, ever and anon, the lively theme with which it commences, to the words, "How bright is the day and how gay is the throng," appears to reappear, now "alone in its glory," now as a sort of uuder-current, while something more important is going on (as, for instance, the Sompnour's search for Robin Hood), now as an accompaniment in the orchestra, but always appropriate to the action, and always giving the predominant colouring. The only exception that could be reasonably preferred against this capital dramatic scene is the introduction of the ballad, ."My own, my guiding star," in which Robin Hood assures the anxious Marian of his enduring devotion under any circumstances; nevertheless, the ballad itself (however slightly out of keeping) is so graceful, so well accounted for by the situation of the lovers, and sung to such absolute perfection by Mr. Sims Reeves, that one feel* disposed not merely to tolerate, but applaud.

Act III. is prefaced by an interlude for the orchestra, in which the melody of "True love, true love" is presented (like "Mai

brok" in Beethoven's Battle Symphony), under difficulties — or at least in a condition of despondency appropriate to the actual position of the heroine and hero of the opera. With the vocal pieces that ensue we mu3t make short work. A duet between Alice and Allan—"Greatest plague on earth is love"—while remarkably piquant and pretty, can hardly fail to conjure up reminiscences of Mozart's Zauberflbtt—at least, in so far as the opening is concerned, the quick movement being of a wholly different stamp. On the other hand, another duet, "To King Richard at once yon must go," when the Sheriff despatches the Sompnour to King Richard for the death-warrant, is quite as original as it is spirited and clever. There are still two "scenes" to account for—"My child is fled," in which the Sheriff is in despair on hearing of the secret departure of Marian; and " Vain was the proud ambition of a sanguine hour," sung in prison by Robin Hood, whose hopes arc suddenly roused by the not less welcome than unexpected burden of his favourite tune, "The Gay Greenwood," which proves that his "merry men" are at hand, and accompanied in an undertone by the melody of "True love, true love," which proves that his faithful mistress is with them. Both are excellent; but we must be satisfied to say thus much, and, with an equally brief recognition of its merits, dismiss the song and chorus—"Sons of the greenwood, come" — where Marian, in the habiliments of a youth, discovers herself to Robin's associates, and induces them to follow to the rescue of their chief. The third and last finale, in which the Sompnour brings what he imagines to be a Royal warrant for the execution of the outlaw, but what proves to be a reprieve, is worthy of the rest, and contains a trio for Marian, Robin, and the Sheriff—"By all the love that you

have shown me" in many respects as fine as anything else in the opera. The Sheriff's very speedy conversion, when he finds the robber whom he has inexorably consigned to the gibbet, pardoned

on condition of entering the King's service, and the immediate abatement of his scruples with regard to his daughter, whom he at once hands over to his pre-intended victim—

"I cannot scom him whom my King befriends j
Brave Kobin, I accept thco as my son,"—

is one of those incidents (unusual, we admit, in Robin Hoorl) at which the conventional exigencies of the modern lyric drama have long induced the good-natured public to "wink," but which, at the same time, might be smoothed down a little ("gaze un peu," as the French say) with advantage. The animated chorus, however, with which the finale concludes—interrupted for an interval by some brilliant florid variations given to Marian, while the flute in the orchestra is playing the familiar melody of " True love, true love,"—drowns all critical objections, and forms an imposing and appropriate climax to a work of rare merit, in which the musical interest is sustained with almost unflagging interest from the rise to the fall of the curtain.

Rossini's Last Being asked his opinion the other day

about the " unification" of the Italian States with the King of Piedmont as sovereign, the cheerful Maestro replied, that it was "extremely difficult, if not impossible, for the simple reason that the Neapolitans eat nothing but maccaroni, the Florentines nothing but faginoti (haricots), and the Lombards nothing but polenta (Indian corn pottage), while the Piedmontese eat all they can get."

Herr Leoi>oi.d Dk Meyer. — In consequence of a severe attack of illness, which confines him to his bed in Vienna,' Herr Leopold de Meyer will be prevented from joining Mr. Willert Beale's (Novello) touring party in the provinces. In lieu of the great pianist, Herr Molique and Mile. Anna Molique have been engaged.

Herr Richard Wagner is about to publish French version of four of his operatic poems, accompanied by a preface, in which he will explain his system, and reply to the criti> cisnis of which it has been the object.

[ocr errors]

Death or De. S. Elvet.Oxford, October 7.—Last evening died, at his residence in New College Street, after a long and painful illness, aged 55 years, Stephen Elvcy, doctor of music, organist of New College and of St. John's College, and choragus to the university. The'deceased was brother to Dr. George Elvey, organist of St. George's chapel, Windsor, and was elected organist of New College in 1831, on the death of Mr. Bennett, who was killed by the upsetting of a coach on his way to Hereford Musical Festival. The deceased ranked high as a musician, and was much respected in the university both for his talents and many amiable qualities. He^has left a widow, but no family.

- li ■ • -111 '■ - \\





HER MAJESTY'S THEATRE.—Lessee, Mr. E. T. SMITH. —THIS EVENING (Saturday), will be repeated ROBIN HOOD; Sims Rbeves, Samtlby, fteoBGi Honey, I.MiAike, and 1.I:\imfn* Shibkingtox. Reduced Kale of prices:—Pit Stalls. 7s." 6d.; Balcony, fit,; First Circle, 4a. i Second Circle, St.; Upper Box Circle Scats, 2s.; Pit, is. fid.j Gallery Is.; Gallery Side -it.ills Is. 6d.; Gallery Stalls, 3s. Prirnte Duxes: Upper llox, to hold four persons, 10s. i Private Box, third tier, to hold four persons, .£1 Is.'; Private Box, second tier, to hold four perrans,4l lis. Go".; Trrvat« Boxes, Pit; first and grand tiara, tvo, three, and four Guineas. The Box-Office of the theatre open daily, from 10 till .r' o'clock, under the direction of Mr. Nugent. "Acting Manager, Mr. Mapleson. Stage Manager, Mr. R. Koxby.

.r, ,: ,,, . ,,;—, 1 r

HER MAJEvSTY'S THEATRE. — In reply to the numerous napliciitlons, the subscribers, gentry, and the pub!ic are respectfully informed that Macfarren's new and highly successful opera of ROBIN HOOD will be repeated every Tuesday, Thursday, and Saturday until further notice. Early application at the Box-office to secure seats Is recommended to prevent disappointment.

THEATRE ROYAL DRURY-LANE. — Mr. E. T. SMITH hits much pleasure In announcing that he has arranged with Mr. Webster for Mr. J. L. Toots to appear in Mr. Walts Phillips, new drama, to be produced on Monday, November 12.

THEATRE ROYAL, DRURY-LANE.—Grand Concentratlon of Talent and Managers.—Lessee, Mr. F. T. Smith, who begs respectfully to announce to the nobilitv, gentry, subscribers, and his staunch old friends and supporters, the British public, that this THEATRE was OP_K_D for its Eighth Winter Season, under his leiseeship and maaagetnent, on Monday Inst, Oct. 15. Erer mindful of the generously remunerative support which he has invariably received In all his theatrical undertakings, and confident that that support will bo continued by a discerning public as long as he continues to merit it, Mr. Smith has now resolved to replace the Theatre Royal, Drury-lane, in its former proud position at the head of the Thespian temples of Great Britain. The following formidable concentration of talent will form the corps dramaticue of Her Majesty's Servants during the ensuing season:

Mr. Charles Kean, Mr. Gustavus Brooke, Mr. Benjamin Webster, Mr. Charles

Mathews, Mr. Paul Bedford, Mr. Robert Rozby, Mr. Cathcart, Mr. G. Everett, Mr. Lambert (from Australia, his 3th appearance), Mr. Tilbury, Mr. M'Lnne, Mr. Templeton, Mr. Spencer, Mr. Farreli, Mr. Dreon, Mr. Barns by, Mr. Robioson, Mr. Tom Matthews, Mr. Cormack. Mrs. C. Kean, Mrs. C. Mathews, Mrs. Stirling and Miss Stirling (their first appearance here), Mrs. Frank Matthews, Mrs. Dow ton, Miss E. Arden, Miss Helen Howard, Miss civile. Miss Minnie Davis, Miss Thirlwall. A new drama, by Mr. Watts Phillips (author of "The Dead Heart "), will be produced on Monday, Nov. 12, in which Mr. Benjamin Webster will sustain the principal character, and Mr. Paul Bedford will also appear. Mrs. and Miss Stirling (from the Olympic Theatre) will make their deuut in anew piece. At Christmas the grand Pantonine, written ai heretofore by E, L. Blanchard, Esq., will be produced, for which it is confidently expected that the scenic effects of W. Beverley, who has carte blanche as to expense, will obtain even increased renown. On the 28th of January, J861, Mr. and Mrs. Charles Kean, Miss Chapman, Miss N. Chapman, Mr. Cathcart Mr. G. Everett, and other artists will appear in one of the plays of our immortal Shakipere. Sevoral new dramas will be produced during the season ; one of them, in which (he whole strength of the company will be included, fs from the pen of that highly successful author, Mr. Tom Taylor, At Easter, an arrangement has been made with Mr. Gustavus Brooke to appear on his arrival from Australia. Other important engagements are on the tapis, arid will be duly announced. THIS EVENING, Her Majesty's servants will perform the comic drama of THE TRAGEDY QUEEN. Characters by Messrs. Lambert and Spencer, Miss ArHen.and Mrs. Stir I inc. After which, the popular comedy Of MARRIED FOR MONEY, in which Mr. Charles Mathews will make his Cth appearance here these three years, supported by Messrs. Roxby and Lambert, Mrs. Frank Mathews, Mlsi Helen Howard, and Miss Minnie Davis (her 6th appearance). To be followed by the comic drama, entitled HIS EXCELLENCY, iu which Messrs. Charles Mathews, Tilbury, Farreli, Mrs. Charles Mathews, and Miss Clyde will appear. To conclude with MY FELLOW CLERK. Stage Manager—Mr. Robert Roxby. Musical Director—Mr. Tully. Director, Painter, and Superintendent of the Scenery—Mr. W. Beverley. Costumes by Miss Dickinson aud Mr. W. Palmer. Machinist—Mr. Tucker. Properties by Mr. Ncedham. Prompter—Mr. Craven, Reduced prices as usual. V

[merged small][merged small][graphic][ocr errors]

MUSIC, us an art, having now taken a high and, we doubt not, permanent position amongst us, a fevr reflections upon its purposes as an element of civilisation, in order that the true mission of the artist be understood and his calling respected, may not bo out of place. Firstly, it is necessary to regard the art of music, not as a gratification of mere sensual feeling, but a tiling of higher and holier influence, emanating from and addressing itself to the heart. Music of the highest order is the very soul of poetry. "Geist ford'rich vom Dichter aber die Seele spricht n«r Polyhymnia aue." The voice of genius in overy art is still the voice of truth, and all truth can emanate but from one source, tbe soul; and the work, if true, is as imperishable us the soul itself. It is necessary to say thus much, because there are many short-sighted and prejudiced people in this country, who still persist in asserting that the fine arts are not only useless, but that their influence is even demoralising. To those persons we reply, that anything which refines and ennobles the mind must improve it, and that anything which improves the mind must be useful. Every tiling which gives evidence of mind, as opposed to mere materialism, which reveals the combinations of ideal beauty, which live only in the soul and proves the existence of that divine faculty which we call inspiration, must be of a spiritual and even religious nature. That music is merely suggestive we do not attempt to dispute ; on the contrary, we claim for it no higher privilege. But of what is it suggestive? of ideas. But of what kind of ideas? They will depend upon the nature of the music itself. If the composer be inspired with, elevated thoughts when composing, the same thoughts will inevitably be conveyed to the mind of the auditor. All works of art may be judged by the emotions and ideas they excite in the cultivated mind. In the first place, tbey must be true—that is, they must be the offspring of natural feeling. The artist must feel deeply before he can hope to strike the electric chain which connects the souls and sympathies of all mankind. Admitting, then, music, as an art, to be a powerful element of civilisation, does not its cultivation among us become a matter of public importance? Admitting that, in music, as in every other art, low elas works tend to vitiate the public taste and excite in the mind a low train of ideas, is it not of paramount importance that a high taste should be cultivated? People complain of the bad taste of the public! But what forms the public taste? In a country where music had never been heard, the peopl* would not have a bad taste, but no taste at all. The bad taste of the public has been formed by the bad works of composers wanting in genius or conscience, and fostered by the musical ignorance and cupidity of theatrical managers and music publishers. "Yon must write for tbe million, say the "friends of art." Most true; but who are the writers for the million? Those small ephemora who are called into existence by a momentary ray of sunshine, soon to be withdrawn, or those whose works go down to the remotest posterity, and are the delight of all ages? Which of these are the writers for the million? Whose works gratify and instruct the greatest number? The true writers for the million are Handel, Bach, Mozart, Beethoven, &c, and the writers for the few are so called popular men of the day. But " we must have tune," say the " friends of art." Most true; but let not the necessity of writing popular tunes be offered as an excuse for the display of artistic ignorance and vulgarity of mind. What tunes are more popular than those of Handel, Haydn, Mozart, Beethoven, Rossini, Weber, Auber? But in these writers we have tune united to profound knowledge and elegance of expression. The progress which music has made of late in this country must be highly gratifying to every true lover of art. The progress it has made, in spite of the ignorance and ballad-mongering prejudices of publishers and theatrical managers—in spite of the exclusiveness of certain societies supposed to be national—in spite, "though last not least," of the absurd criticisms of certain newspapers—the art has kept the even tenor of its way, and is still progressing. A grand school of art is forming, in the only way in which it ever could or ever has been formed in this country, by the study of the works of the great masters and an investigation of the principles upon which they were written. The result of such an investigation is the knowledge of who the great men really are, and why they are great. In other words, what fine music really is and in what it consists. If we pronounce a thing to be good, we must have some reason for doing *o, and things must always be good for the same reason. If a symphony of Beethoven is said to be good, because it possesses all the finest qualities of music, any other work possessing the same amount of fine qualities must be equally, or, if it possess a portion only, relatively good. It is not mere contrapuntal skill, the melodic faculty, form, design, or any one quality that can make a composer truly great, but an assemblage of all, such as we find in the works of Handel, Haydn, &c Much has been said about a "national school," and some of our young composers have been reproached by certain "eminent critics" with anti-national tendencies, for endeavouring to emulate Mozart and Beethoven; these gentlemen, with much less wisdom than Solomon, are consequently much more difficult to satisfy; they must have something totally new, something in itself excellent, yet totally different from everything that is excellent. Our composers are expected to produce fine works, but ore still to be totally unlike Handel, Haydn, Mozart, Beethoven, &c, who are great, not because they are called Handel or Haydn, but because they have discovered the universal and immutable principles of the sublime and beautiful, and the secret of applying those principles to their art. But to those deluded beings who are suffering under this morbid veneration for the great masters, and are vapouring away their existence in endeavouring to emulate them, the advice of our "eminent critics " is not wanting. One proposes, that instead of emulating Mozart or Beethoven, our composers should arrange their own national tunes after a new fashion, and that, says he triumphantly, would be English music, and lead to the formation of an English school! Another suggests writing in the manner of—that is imitating— Shield, Arne, Callcott, &c, and that, also, would be original English music! It thus appears that when English writers imitate each other, imitation is not imitation; but if they imitate great foreign writers, imitation is imitation. The logic of

this is curious. After all, what is meant by "nationality," "difference of schools," "English music," "French music," and "originality?" These fine deceptive words and imaginary distinctions can be of no use to the true progress of art, but rather tend to retard it. The aim of an artist should bo to be great and not national. Nationality in art means absolutely nothing. A work, to be great, must speak in the voice of universal and immutable truth to the higher soulqualities and sympathies of mankind which are the same everywhere. It cannot be circumscribed or bounded in its movements; it scorns the fetters of space or time. The only national feelings recognised in matters of art is that evinced by a people who support a native artist when he has produced a fine work, of which they feel proud, and which adds to the glory of the country. The "difference of schools" consists in nothing but the relative amount of fine qualities possessed by different writer?. One is conspicuous for one fine quality ; one for another; while the greatest works possessing all the fine qualities are universal— of all schools and of no school. Originality and individuality of style in a work of art, when it exists, springs less from studiously avoiding the works of other writers, as some have asserted, that from having studied them all deeply. Originality is nothing but the faculty of comb'ning and throwing into new forms the materials with which the head is stored, and the images and impressions which the mind has received from the study of great works. Individuality of style should be termed universality, since it is nothing but the faculty of combining the most striking points of every work we have studied, and throwing them into new forms. Without all this it would be possible to produce something "very original," but certainly not a work of art, as all experience demonstrates. We have said there is a right feeling amongst our young composers, which must inevitably lead to great results; but we are afraid there is a very bad one amongst those persons whose duty it is to foster and encourage their genius. Let us not be supposed to join the "native talent " cry, which we cousider ridiculous and calculated to do more harm than good. An artist is not to be upheld merely because he is English, but because he is eminent in his art; if he cannot stand his ground against foreign writers, then let foreign writers have the preference. We ask for justice, not favour. It cannot be urged that there is any want of encouragement on the part of the public, for, whenever any work by an English writer is brought before them, they receive it generally better than it deserves. No; the true enemies to the progress of music in England are chicanery, ballad-mongering, and conventionalism, of which more anon.


THE late M. Castil-Blaze compiled a so-called mass from pieces out of various operas by Rossini, and published it under the name of the illustrious composer. We have already spoken of this famous "Mass by Rossini," and stigmatised such a piece of* buffoonery as it deserved. Were Castil-Blaze still alive, what would be his astonishment on discovering that he was not the inventor of the process which consists in constructing masses out of dramatic music, but that, in Germany, ho had predecessors, who used Mozart as lie had used Rossini.

In the musical collection of Charles Zulehner, at Menfz, there was a mas3 in C major, bearing the name of Mozart, and entitled Coronation Mass. With the exception of the "Credo," it was composed either of fragments or entire pieces from the opera of Cost fan Tutte. These excerpts were transposed into other keys, or their instrumental accompaniments modified. We have never seen this mass, but Herr Otto Jahn, more fortunate, was allowed to examine a copy.*

The "Kyrie" is the trio (No. 10), "Suave sia il vento," transposed into C, and the wind instruments, except two flutes, omitted. A tenor part is added to fill up the harmony and complete a four-part chorus. "Cliriste Elcison" is the first subject of the duet (No. 4), "Ah, guarda, sorella," transposed into G for soprano and tenor voices, with two oboes and two horns in the accompaniment; somo passages omitted, and the ritornella placed at the end.

At the beginning of the "Gloria" arc a few bars due to the inventive powers of the unknown "arranger;" the rest is composed of themes taken from the first chorus of the second finale. In the " Gratias agimus" appear the first seventy bars of the air. (No. 11), "Smanie implacabile," solo for soprano in F major; in the " Qui tolli.s" we have seven not taken from the opera ; but in the " Miserere " we detect four from the first finale, "lid il polso," after the repetition of the " Qui tollis," the "Suscipe" draws upon the first finale, from " Oh se tarda," until the end. "Quomam tu solus" is composed of trio (No. 3),,"Una bellaserenata," without any change except the addition of a fourth part for the tutti. The concluding ritornella is suppressed. The " Sanctus" and " Hosanna" arc made out of the andante of the first finale, " Dove son," shortened by six bars, and transposed into C. The vocal parts have undergone certain modifications rendered necessary so as to fit them to the words.

The "Benedictus," this is the duet with chorus (No. 21), "Secondate," transposed into F, and accompanied by stringed instruments, flutes, and oboes.

The "Agnus Dei" commences with eleven bars not borrowed from the opera. These aro followed by the music of the second finale, "Idol mio," the part of Despina being omitted.

"Dona nobis" consists of the last concerted piece in the opera.

What will musicians say to such desecration? It is, in truth, curious, but more curious still that Zulehner, in a letter addressed to Godefroid Weber, should advance the opinion that this mass was written by Mozart be/ore the opera of Cost fan Tutte, the materials for which were derived from the mass. There is absolutely nothing to support this preposterous assumption. It is far more likely that the mass is. the work of some obscure compiler. What sanctions this belief is the testimony of several old musicians, who, according to Herr Jahn, remembered in their youth similar masses made up of pieces from Figaro and Don Juan.

♦ ■- ■

THE musical feuilleton of the first-class Paris papers reckons another musician among its regular critics. M. Augustc Durand, organist of St. Koch, recently published his maiden feuilleton in the Messager de Paris, and the first thing we notice in his confession de foi is the last clause in the mission confided to him : —

"Do not be too mnch a musician of the future, nor overstep the limits of science in the present day, which affords a field quite vast enough for observations. The extreme frontier of the beautiful just now is Berlioz, and, if yon love Auber, learn that two frontiers arc no less two heads: all depends on the side at which we may enter."

To this M. Auguste Durand replies:—

[ocr errors]

I "I shall be of my age and of my country. The music of the future has ns yet acquired in Paris only a strongly contested footing, and it numbers more adepts in the German than iu the French school. As for myself, I assert that, for more thou half a century, the French school I has produced enough men of genius to enable any one to consider him'self fortunate at having derived from such a source the principles of musical art! I am far from being exclusive, and denying the first-class I beauties of the Italian and German schools. Luckily, we no longer live in the age when Cherubini, director of the Paris Conservatory, would not sanction in the class for countorpoint the study of the fugues of Sebastian Bach, whom he called 'barbaro Tcdesco' (?) ; nor do wc approve of the severity of Zingarclli, director of the Naples Conservatory, in banishing from the school Mercadante (his successor), who had copied \ out with his own hand the separnte parts of Mozart's quartets, for tM | sake of studying them in score. It ii the peculiarity of the French | school to have levied contributions on Germany and Italy, and to have 'mingled with the productions of those two schools an originality which has caused it to be said that French music is eminently spirituelU."

Happily nous avons change tout cela, in London no less than in Paris. Dogmatism has given way, perhaps, to a somewhat loose eclecticism. At all events, now there are no longer living and producing any Mozarts and Sebastian Baclis, there are a far greater number living who are able to appreciate what those great men did.

ACCORDING to the latest reports from Paris, the idea of producing Tdnnhaiiser at the Grand Opera is in abeyance—or, at least, indefinitely postponed—or, at most, it will be put into rehearsal "this day six months''—or, at best, deferred sine die—or, at the utmost stretch, virtually (virtuously) abandoned. In revenge, London amateurs are not to be disappointed, if rumour speak not falsely, Mr. Harrison and Miss Louisa Pyne, or, rather, Miss Louisa Pyno and Mr. Harrison, being firmly nailed to the resolution of bringing out an English version at their theatre. At any rate, the admirers of Herr Wagner's music will bo [gratified to learn that his three-night opera, the Niebclungen, is completed, or nearly so, and that the last "night" is still unfinished. Wo strongly recommend Miss Louisa Pyne and Mr. Harrison, or, rather, Mr. Harrison and Miss Louisa Pyne, to rehearse the Niebelungen{which occupies three days (not of Algiers—political musicians will understand us—) in rehearsal) over Tiinnhauser, Tristan und Jseult over the Riebelungen, Lohengrin over Tristan und Iseult, the Fly. ing Dutch Captain over Lohengrin, Kienzi over the Flying Dutch Captain, and the Postilion de Longjumeau (a preWagnerite opera) over Rienzi. We advise them thus in order to provide for the contingency (or contingencies), of a falling through (or fallings through). Thus we advise them, and for the reasons stated.

Petipace Of Wincuklsea.

THE following communication, from Mr. Thomas Walesby, appeared in the Globe of the 10th inst.: —

"On or about the 6th of October, 1859, the author of the present letter offered a suggestion in the 7"i;«e», and subsequently in the Globe, to the following effect:—

"' 77ie Oreat Bell.—" Big Ben the Second," at Westminster Palace, having been silenced, let the clock strike the hours, pro tern., upon the largest of the four chime-bells, which ought to emit a deeper note titan tluit of tlic hour-bell at the Abbeythe other betts being mute.'"

And this proposal was approved by musicians as well as by campanologists. Yet the great clock has not been permitted to strike up to this moment, so that twelve months i have elapsed since the hour was indicated by the sound of a bell, a space of time more than sufficient for designing, casting, and hanging one of the finest peals of twelve bells in the world.

Now, whatever may have been the different opinions as to the conditions of the great bell, or with regard to the chimes, so far as we know, there can be no reasonable excuse for the non-employment —long before this—of the largest chime-bell, above-mentioned, as a temporary substitute for "Big Ben." Moreover, upwards of four months ago the Chief Commissioner of Her Majesty's "Works, stated in the House of Commons, that means would be used for causing the clock to strike the hours upon the largest quarter (chime) bell. And a searching critic —Mr. Punch—said in his inimitable Essence of Parliament (I860, Juno 4th, Monday) :—

"By far the most important parliamentary statement of the week is, that Big Ben being irretrievably cracked, and Loudon being melancholy at not hearing a voice from the Golden Tower, the hours arc to be struck on the largest quarter-bell."

Why, then, let us ask, does it continue silent?

PITCH AND TAR. {Extractfrom a letter.) "Capital last number of the Musical Wort.d! Did you laugh in writing that leader as much as I did in reading it—oh, Petipace?

"I sent it on to the eldest daughter of Sir Grumraore Grummorsum. She shows great taste in laughing.

"By advices received this morning, Mad. d'Engelura is quite well.

"Love to Aries le fise Vnscher, and all his circular companions." Ton ClouL


[|We have been requested to publish the above, to which the humorous writer has added the following ontosophical jeu d'esprit from the paragraphs of our round-abdomened contemporary Mr. Punch:—

A MUSICAL KEY WANTED. The Athenaim and the Musical World are always alluding to "The Musical Pitch." Wo don't know what it may be, but should say it was the very thing for a grand incantation scene, like that in Der Frieschiitz. Perhaps Dibdin composed all his celebrated Tar songs with this same "Musical Pitch ?" or is it a kind of wash that the Ethiopian Sercnaders arc in the habit of using to black their faces with? We confess we are quite in the dark, and only wish that either of our above-named musical contemporaries would be kind enough to send in a stave or two such as would be likely to give us a small taste of what this much-talked of" Musical Pitch" is like. Of course, it is never used for light music?

There is none of this pitch, although there be many pitches, used in the incantation of DerFrEischiitz (not Fn%schiitz). Dibdin did not compose his tar songs with this pitch, although he pitched them all naturally enough. This pitch is not the wash of the Ethiop halloocrs, who black not their physiognomies of a wash (quelconque), but wash them of a black (quelconque), which is not this pitch—as you may see. This pitch is unused in light music, which may be pitched, nevertheless, in divers pitches (poly-pitched, or ponny-pitched). So that our spare-shanked contemporary is (as he squeaks) "in the dark "—pitch-dark—about this pitch; and unless he would run the risk of a pitched battle with a herd of hungry aristarchs, he had best pitch his eombre speculations on this pitch to the dogs. A pitcher for such speculations upon pitch! As coming, too, from one

who having no sooner pitched his critical pavilion than he commences pitching into his brother men of quips, with the three-toothed pitchfork of his sarcasm, they are scarcely worth the issue of pitch and toss. Pshaw ! Fi done! (shade of Piccinni—or Pitchi«ny !) Pi(fc)sli !—Mons. Durillon (cw-Nicnox) d'Engelure 1 Petipace.]

(Extract from a private letter.)

You have already announced that the communal

council of Spa, under the presidency of Count Cornelissen, the burgomaster, decided, some time since, on naming the new walk formed between the springs of Barisart and the Geronstere after the illustrious author of Les Huguenots. This resolution, proposed by M. Servais, one of the sheriffs, was unanimously adopted, and notice of the fact transmitted to the eminent maestro, who lost no time iu auswering the members of the council in the following letter, remarkable for its good taste and amiability:—

"Schwalbach, 12th Aug., 1860.

"Gestlembn,>Having been absent from Berlin A month, and travelling about almost continually during that period, it was but ye3terday I received the letter addressed by you to me at Berlin.

"I cannot express to you, gentlemen, how much I am touched by the honour you propose doing me, in giving my name to the new walk from Buiisart to the Geronstere.

"Such a mark of sympathy is the more nattering, because it proceeds from the city of Spa, so near to my heart; for it is to its beneficial springs that I owe the re-establishmeut of my health, to its picturesque sites inspiration and sweet repose, and to its inhabitants a kind and cordial welcome for very many years past.

"This fresh mark of the interest you feel for me cannot, however, increase my attachment and gratitude to Spa, for those arc sentiments long graven on my heart; but it is another tie binding me to your town, of which I am almost bold enough to consider myself as the adopted child, a belief you have just strengthened by inscribing my name upon one of your promenades.

"I remain, gentlemen,

"Yours devotedly and gratefully,

"G. Meyerbeer."

There were grand'/ctes at the inauguration of the "Promenade Meyerbeer." Several concerts were also given, Then came the "Kermesse," or fair, with its popular balls, illuminations, and rejoicings of all kinds, and, lastly, the grand steeplechase of the 24th September, which closed the season at Spa.

Mb. George Augustus Sala.— The success of the Cornhill Magazine appears to have excited the enterprise of another publishing firm, and a rival is announced for the 1st of December, under the auspices of that popular writer, Mr. Sala. This new literary periodical is to be entitled, simply, Temple Bar, and the editor, we are informed, has taken out a patent to secure the monopoly of all puns and smart sayings that may thereby be suggested. Such of our contemporaries, however, as imagine that this fresh candidate for public favour will confine itself chiefly to light, perhaps to frivolous, literature are mistaken.—The Press.

[We have also heard it indistinctly hinted that still "another publishing firm" is about to issue still another "rival" to Cornhill Magazine; and that this "new literary" periodical is to be entitled, simply, Shoe Lane—editors, the authors of The Goose with the Golden Eggs. Shoe Lane—> we have further almost learnt — will be published ten times annually, so as to give it an original feature, and to bring it within the conditions of the decimal coinage. A serial thus rediged can scarcely miss faisant nargue to all concurrences, or simultaneous runnings. P. Winchels.]

« ElőzőTovább »