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liable to 12/. or 13/. each to make up the deficit. At the head of the subscribers to the Guarantee Fund stands the Venerable the Archdeacon of Hereford, who, although continuing to entertain objections to musical performances in the cathedral, has put down his name for 251.; while Messrs. Bulmer and Whitfield give the next largest sum, 10/., and Mr. Townshend Smith's name is conspicuous among the 5/. donors. Further, it may be worthy of mention that the Dean and Chapter of Hereford have granted the use of the nave of the cathedral fbr the performance of oratorios and other sacred compositions, and another portion of the building for the daily celebration of choral service.
The cessation of the Hereford Festival would have involved a serious loss to the cause of charity. The collection in 1857, amounting to 1064/. 3s. Ad., was greater than on any former occasion, which was equally the case at the last meetings both of Worcester and Gloucester. It would have been a disgrace to the town corporate and shire of Hereford to have suffered the discontinuance of the Triennial Meeting, which for so many years had benefited the inhabitants of the old cathedral town by the influx of visitors, conferred new life and enjoyment on a remote and listless locality, and rescued hundreds from the grasp of want and misery. The people of Hereford are indebted more than they are aware of to Mr. Townshend Smith, to the stewards, and to the subscribers to the Guarantee Fund, for upholding the honour of their fair city.
Pagain placing the oratorio of Solomon before their subscribers and the public, the Committee of the Sacred Harmonic Society have done wisely. The works of Handel must necessarily be their chief stock in trade, and to fairly represent his colossal genius, Solomon must be entered on the list among his better known achievements, the Messiah, Israel, Samson, the Dettingen Te Denm. It is our invariable custom to attend performances of Handel's oratorios, and if we rank Solomon as a work in which the interest to musicians is not of the same stamp as in the others we have mentioned, we do not by any means think it should be neglected. It was, during the season before last, twice performed, and listened to with unqualified satisfaction. While we think the scene of the two mothers before Solomon is too prolonged, and that the libretto is one of the worst that ever troubled Handel, we are not forgetful that "From the censer," and the series of choruses (with contralto solo) commencing, " Music, spread thy voice around," are amongst his most gigantic inspirations; that "May no rash intruder" is not only of marvellous beauty, but that being the only specimen of its style, it has no rival. Solomon, too, has an overture of great value as an orchestral study, which fitly inaugurates an oratorio wherein instrumental excellence is preserved unimpaired throughout. The work, as performed at Exeter Hall, is much curtailed from its original proportions, and even now is too long for particular descriptions of each piece. The antiphonal form is used ia many of the choruses, and in particular instances—such as the first, " Your harps and cymbals sound," "With pious heart," and the before mentioned "From the censer"—with a. dignity and magnificence only inferior to some of the numbers of Israel in Egypt. In the airs, too, we find very many of the happiest ideas of the composer, such as " What tho'I trace" (contralto), "Can I see my infant gored?" (soprano), and "Will the sun forget to streak? (soprano), with its graceful Jiauto obbligato. These are but few of the many pieces in Solomon which are always welcome. The
recitatives are very numerous, and serve to exhibit Handel's fertility of invention. Indeed, in this branch of vocal art he has never been surpassed.
It is the custom for the press to take a great deal for granted witli respect to the performances of well known associations. We have never failed to express our opinion on the Sacred Harmonic Concerts; but, while admitting their excellence in many points, which, if considered altogether, leave them without equal, we have had occasionally to urge that better things might be done by a body of such great resources. On the present occasion we can safely say that a better representation will never have been given by the Society. If we are not mistaken, this may bo attributed to the work of reform and purgation to which the Committee have lately directed their zealous labours. Those gentlemen, however, know best; but if we are right in our surmise, it cannot fail to be an encouragement to them to prosecute a reform, which indeed was rapidly becoming indispensable.
Of the performance of Solomon, which took place last night, and inaugurated the present season, we shall speak next week, in the proper place.
Westminster Plat.—The Trinummus of Plautus will be performed by the Queen Scholars of Westminster on the following nights:—Friday, Decembar 14; Tuesday, December 18; Thursday, December 20, with the addition of a Prologue and Epilogue on the last two nights.
Music.—It requires no extraordinary skill in execution to render music subservient to the purposes of social and domestic enjoyment; but it does require a willing spirit and a feeling mind to make it tell upon the sympathies and affections of our nature. There is a painful spectacle occasionally exhibited in private life, when a daughter refuses to play for the gratification of her own family, or casts aside with contempt the music they prefer; yet when a stranger joins the circle, and especially when many guests are met, she will sit down to the piano with the most obliging air imaginable, and play with perfect good-will whatever air the company may choose. What must the parents of such a daughter feel, if they recollect the fact that it was at their expense their child acquired this pleasing art, by which she appears anxious to chann anyone but them? And how does the law of love operate with her? Yet music is the very art which, by its mastery over the feelings and affections, calls forth more tenderness than any other. Surely, then, the principle of love ought to regulate the exercise of this gift in proportion to its influence upon the human heart. Surely it ought not to be cultivated as the medium of display, so much as the means of home enjoyment; not so much as a spell to charm the stranger, or one who has no other link of sympathy with us, as a solace to those we love, and a tribute of gratitude and affection to those who love us.—Brighton Guardian.
Tub Bass Viol, versus The Piaho.—Since the harp has fallen into disuse, nothing has supplied its place as a drawing-room instrument. The piano, that friend of mediocrity, reigns everywhere; but ladies are not aware of all the harm that it occasions. In the first place, except in the hands of an adept, the piano has no expression at all, and only wearies the ear. Besides, it accords in no respect with feminine beauty, and it especially cuts the bust or the head with a horizontal line, causing the most unpleasing effect. It is really strange that our drawing-room musicians have not thought long ago of substituting for these massive, angular chests, some instrument graceful in form and melodious in tone. The painters were the people to consult. There is to be seen at the Louvre a beautiful picture by Netschcr—a lady playing on the bass viol. Paul Veronese has represented himself with this instrument in his magnificent picture of the "Marriage at Cana." St. Cecilia also displays her exquisite hand on the strings of a bass voil. The outline, the shape, the shades of colour, all unite to place-in advantageous relief the white arm which lithely directs the bow, the slender fingers which delicately traverse the finger-board, the bust gracefully bending forward over the. soul of the instrument, which seems to reply by its vibrations to the throbbing of the lovely performer's heart. Should not an instinct of coquetry, in default of musical sentiment, have caused the adoption by ladies of the instrument of the patron saint of musicians ?— Brighton Guardian.
Rotal English Opera.—On Monday night an operetta in one act, entitled the Marriage of Georgette, was produced with unequivocal success. Les Noces de Jeannette, the French original, from the joint pens of MM. Barbier and Carre* (authors of Dinorah), was brought out1 some years ago at the Opera Coraique. The music, by M.Victor Masse, gained the first laurels for a young composer who has since taken rank' among the most popular disciples of the late Adolphe Adam, and whose latest notable performance, La Reine Topaze, was, like Les Noces de Jeannette, composed expressly for the now celebrated Mad. Miolan Carvalho. A more agreeable little piece to serve as what our neighbours term "lever de rideau" could hardly be desired; and the music is so light and sparkling, that, the brevity of the opera taken into consideration, it is a pity any portion of it should be rejected. Although we are not aware that Les Noces de Jeannette has been introduced at any of our metropolitan theatres, an English version, by Messrs. Leicester Buckingham and A. Harris, so conveniently adapted that it may be played with or without music, has been given in most of the provincial towns, and—thanks to the brilliant vocalisation of Miss Louisa Pyne—was for a long time a favourite in the United States of America, where she sustained one of the two principal characters. The French piece itself, together with the music, transplanted literatim et notatim from the boards of the pleasant opera house in the Rue Favart, was presented, last summer, at the little theatre in Camden House, Kensington, and experienced a highly-nattering reception at the hands of a genuine assembly of connoisseurs. As the general public,' however, has no access to that sanctum sanctorum of aristocracy and fashion, a brief digest of the plot may not be supererogatory.
Georgette (Jeannette) is in love with an artisan named Jacques (Jean), who pretends to reciprocate her attachment, until the day appointed for signing the wedding contract, when, repenting of his engagement, he suddenly withdraws. Pursuing the fickle swain to his abode, nevertheless, the forsaken Chloe reproaches him with having made her the laughingstock of the village. Jacques, thus confronted, vows that his admiration remains unchanged, but that his abstract dread of marriage, being even greater than his affection, has led him to this seeming inconsistency. Not satisfied with such a poor excuse, Georgette threatens vengeance from »o uncompromising a quarter—that of a stern military father—that Jacques is induced to affix his name to a paper, which he subsequently learns to be a second contract. His indignation at finding himself to be thus irretrievably bound, is only appeased by Georgette's promise that she will not herself sign the deed, and, satisfied that he is still a free man, he leaves the house on an errand with which she has intrusted him. Meanwhile, however, having altered her mind, Georgette completes the contract by the addition of her signature, and on his return Jacques discovers his now legally affianced bride in quiet possession of his domicile. The only expedient he can hit on is to disgust the intruder alike with her partner and her home; and to this end, in an excess of exasperation, half assumed, half real, he turns the apartment topsyturvy, deranges the bed-furniture, overthrows chairs and tables, and smashes the glass and crockery; after which magnanimous achievement he seeks a temporary repose in the hayloft. While thus invoking the aid of Somnus to calm his excited nerves, Georgette has the broken furniture removed, and substitutes her own, the recent gifts of her friends, in its place. Jacques, on awakening, is astonished to see his apartment freshly and neatly furnished, a substantial supper laid out for him, after his own peculiar taste, while the self-elected wife of his bosom, like the heroine of Lebrun's Iiossignol, is emulating the nightingale in fluent and mellifluous strains. Touched with this proof of united forbearance and solicitude, enchanted by the song, and still more (as Mr. Corri makes it appear) by the supper, the heart of Jacques relents; a reconciliation follows in due course, and the enamoured Georgette is rewarded for her perseverance by the hand of a youth who, unmoved by her intrinsic charms, was by no means proof against new furniture, new crockery, and a bacon-omelette. Mr. W. Harrison (we are approaching the period when every manager will be his own author), in his adaptation of the French
piece, has followed the original with tolerable fidelity, but somewhat spoiled the denoument, by omitting the incident of Georgette's tearing up the contract at the very moment of her triumph, which left her still more completely mistress of the field, while, at the same time, paying a slight tribute to "poetical justice."
The music of M. Masse (it must be understood that of all his operas—which, besides those we have mentioned, include Galathet, La Chanieuse Voilee, La Financee du Diable, Les Saisons, &C.— the Noces de Jeannette is the least pretending) does not admit of detailed criticism or analysis, there being very little to criticise and nothing at all to explain. It is throughout of the slightest possible texture, and depends exclusively on its light and fluent tune, combined with a certain well-sustained theatrical propriety. The soliloquy of Jacques, "At last, I am alone," is spirited, if nothing more ; the duet, "Hold, stay there, if you please," in which Georgette induces Jacques to sign the contract, though too long for its abstract musical interest, is by no means too long for the dramatic situation; the comic song, " Oh 1 you can little know, my dear," in which Jacques tries to disgust Georgette by a formal catalogue of the conjugal duties she will have to fulfil under his roof, is lively, well written, and to the purpose; and the final duet, where Jacques, repenting, endeavours to make peace, contains a phrase for Georgette—"My fond heart will sure its joy reveal"—not merely pretty, but which, without exaggeration, may be termed beautiful. Rest of all, however' are the three songs of Georgette—" Amongst the village swains," "Fly nimbly with your work, my fingers," and "At my cottage door "—the first of which is remarkably graceful and expressive, while the others (the "Knitting-song" and the "Nightingale-song," by which names they are likely to be familiarly known) are characteristic as well as melodious. All three were given to perfection by Miss Louisa Pyne (Georgette), whose first appearance after her indisposition was hailed with several distinct rounds of applause. In the "Nightingale's song " the accomplished vocalist was accompanied in masterly style on the flute by Mr. Pratten. This gentleman shared with her an elaborate "cadenza " for flute and voice, cut out on much the same pattern as those time-honoured specimens of Lebrun and Bishop that were wont to enliv en the amateurs of two or three generations since, and which one might have thought had been virtually driven out of fashion by the genius and originality of Meyerbeer, who by the extraordinary trio for voice and two flutes in the iast scene of L'Etoile du Nord made all preceding attempts look faded and forlorn. Perhaps, however, M. Victor Masse did wisely in taking Lebrun rather than Meyerbeer for a model, the first being as easy as the last was difficult to emulate. Nevertheless, Lebrun allowed for, it was a real musical treat to listen to such a performance as that of Miss Lousia Pyne and Air. Pratten. We have said nothing of the overture and final chorus, inasmuch as they are wholly insignificant. The part of Jacques was supported with vigour and painstaking ability by Mr. Corri, who, though his humour cannot (as we have had already occasion to observe) be cited as spontaneous or natural, managed to divert the audience considerably in more than one scene. The applause at the fall of the curtain was unanimous and cordial.
The Marriage of Georgette was preceded by the ballet of The Ambuscade and followed by Mr. Loder's admirable Night Dancers. Mr. Balfe's new opera—Bianco, the Bravo's Bride—is in active rehearsal.
St. James's Theatre.—On Monday night Mile Albina di Ehona, a French dancer, said to be of Servian origin, made her first appearance, in a trifling piece entitled Smack for Smack. The young lady, who is an actress as well as a dancer, speaks the French language, and. as the piece originally stood, the only other character, a Prussian soldier, m played by a German, who spoke in his own vernacular. The bickering which takes place between these two personages, and which n" leads to a declaration of mutual attachment, mainly serves to i a number of those characteristic dances in which Mile. Albina. di 1 U a proficient. Nevcrtheles, it was felt that the German would be i telligible to a large portion of the audience, and hence he is c into an Englishman, and played by Mr. Behnore, the lady still;
her original French. Mile. Albina is a dancer of immense strength and vivacity, capable of surprising tours de force, and is withal endowed with that histronic spirit that is especially required to give effect to dancesjof the national kind. She is, moreover, a lively actress, in the ordinary sense of the word, and speaks her dialogue with all the point of a French soubretle. She was greeted with universal applause.
Drubt-lane Theatre.—Mr. Charles Mathews is again the prevailing genius at this house, the temporary withdrawal of tho Slory of the '45 allowing light comedy to take the place of romantic melodrama. A very clever version of Les Patles de Mouche, which is called The Adventures of a Billet-doux, gains considerably by this revolution, for when it was first brought out it was played after the very lengthy talc of serious interest, and was therefore scarcely noticed. Now it occupies the post of honour, which it well deserves, for, as we need not say, it turns on a most amusing intrigue, and, as we may justly add, the two leading personages in whose bands the game entirely lies are excellently played by Mr. and Mrs. Charles Mathews. The Critic, in which Mr. Charles Matthews plays both Sir Fretful and Puff, has been too long identified with bis name to require comment.
Lyceum Theatre.—Mr. S. Lover's comical novel of Handy Andy has been converted into a dramatic shape, that Mr. John Drew, an actor celebrated in Ireland, may maintain tho part of the blundering serving-man—the Jocrisse of Irish fiction. Mr. Drew is an artist of the quietest and least obtrusive kind, never violently thrusting forward his drollery, but allowing it to insinuate itself into the minds of the audience, as if perfectly relying on its natural force. The finish wi th which he executes the minute details of the part is very remarkable, and when his sharo in the dialogue is but small, he still makes himself conspicuous, and remains the attractive figure of the scene through tho excellence of his by-play. His skill in "making up," so necessary a qualification for parts of characteristic humour, is very great, his resemblance to the picture of Handy Andy extending apparently even to the conformation of the face. How far nature has assisted art in this respect we cannot determine.
Crystal Palace.—The weather has not been very favourable for the winter concerts, four of which have been now given; nevertheless, the attendance on each occasion has been larger than might have been expected. The programmes continue to preserve their distinctive instrumental features, which Mr. Augustus Manns finds he has been wise in adopting. A symphony and one or two overtures invariably constitute items in the selection, for the most part executed with efficiency and vigour. The new vocal favourite has been Mad. Palmieri, who made her debut last Saturday, and sang airs from the Bohemian Girl, and the Italian repertory with marked effect. Also the lady's euro sposo, Signor Palmieri, presented himself as a tenor singer, with no remarkable results. M. Joseph Heine, a violinist, made his first appearance, and executed Ernst's Pirata fantasia with much applause. The symphony was Mendelssohn's, A major, alias The Italian,
Captain Morton Price And Miss Catharine Lucettb have commenced an entertainment at the Prince of Wales's Hall, Regent Street (formerly the Cosmorama), under the name of a Theatrical Tour through the United States and Canada. It is somewhat difficult to reconcile the title with the entertainment itself, which consists of two amusing petites comedies, written by Captain Price, interspersed with songs and duets of a popular character. These, we suppose, constituted the repertoire of the gallant captain and his fair companion during their tour through the new continent. Captain Price states that he first undertook his theatrical trip for a wager, and that in America he gained 500/. We hope he will be as successful in England. Miss Catharine Lucette appeared, a year or two since, atDrury Lane Theatre, as Susan, in Mr. Tully's Slack-eyed Susan, and met with a very favourable reception. She has a fresh and agreeable voice, sings well, and acts like one accustomed to the stage. Captain Morton Price is evidently a practised amateur of the first stamp. Among Miss Lucette's best vocal efforts was the ballad of " Kate Kearney," given with taste and expression, and a new song by Herr Emile Berger, entitled "That handsome volunteer," which, being quite in "the spirit of the times," created an unmistakeable impression. M. Berger's song is one of the best we have heard on a " Volunteer" subject, and was given by Miss Catharine Lucette with an archness and vivacity
that were irresistible. The distress of the enamoured fair one when she says,
"I ne'er, I'm sure.
was capitally conveyed, and brought down roars of laughter. The "Handsome Volunteer" indeed made a decided impression. A duet between Captain Price and Miss Lucette, given with infinite spirit by both of them ("Sally, Sally"), was another "hit." The songs we have named were only but a small portion of the entertainment, but they were the most effective. With regard to the pieces in which they were introduced, one is entitled The Double Courtship, the other, A Manager's Perplexities. Simplicity of plot and neatness of dialogue are their principal recommendations. A visit to the Prince of Wales's Hall may be undertaken with a certainty of a couple of pleasantly spent hours.
Herr Molique And The Norwich Charities.—One of our contemporaries announce that Herr Molique, the composer of the oratorio of Abraham, performed with so much success at the last Norwich Festival, has returned the fifty guineas sent him as remuneration by the committee, requesting at the same time that the sum may be distributed to the charities of the town. The statement is correct, but it is scarcely complete as it stands. We have reason to know that the gifted musician alluded to returned the miserably inadequate recompense proffered him for the express purpose of marking his appreciation of the niggardly spirit in which he had been treated by the Festival committee. It indeed seems something very like a blunder or an insult to offer such a pitiful sum to a man of genius for a work that must have been the labour of months, or perhaps of years, and we are not surprised that Herr Molique should have resented it in this high-minded manner. Of Norwich we can quite believe he has now had sufficient experience, and we can fully understand the determination he is said to have arrived at never again to enter that city. We should, indeed, think it probable that other composers will be warned by his example, and will in like manner shun a place where their merits are likely to be so ill appreciated and so poorly recompensed.— Daily Telegraph,
Music At Pbnrhtn.—A correspondent informs us of the great pleasure he received, a few weeks past, from hearing a choral performance in the Penrhyn Slate Quarries, so romantically situated at the commencement of the Nant Francon Pass, on the road from Bangor to Capel Curig. The performers were the quarrymen, their wives, sisters, and daughters; and the programme consisted of most of the choruses from the Messiah. The day was very fine, and the interest created by the performance was proved by the crowds who came from the neighbouring towns and villages to enjoy the music. There must have been present nearly ten thousand persons, who were seated in the various galleries of the quarry, which formed, as it were, a large amphitheatre; the chorus, in number about two hundred, standing in the centre of the quarry, facing the audience. The accompaniments were played on two harmoniums, which, wonderful to relate, were heard by every one present. The weak point of the affair was the number of conductors, there being no less than four; but this could hardly be avoided, as there were four choirs present—Church of England, Wesleyan, Independent, and Methodist—and policy necessitated that the conductor of each sect should have his turn in directing the movements of the whole. The execution was most creditable to all concerned; so creditable, indeed, that we cannot but express an earnest hope that no effort will be spared to carry out a movement so auspiciously commenced. The Hon. Colonel Pennant, the owner of the Penrhyn Slate Quarry, is only too anxious to promote everything that can tend to improve the moral as well as the physical condition of those in his employment; and too much praise cannot be accorded him for his assistance in putting within the reach of his quarrymen a resource so elevating as the performance of the Messiah. Previous to the choral demonstration, the Volunteers (all quarrymen) marched in, with their band, and were put through their drill. The band performed at each change of conductor.
Ocr provincial column will be somewhat scant of news this week. The autumn tournees are fast drawing to a close, and entrepreneurs in the country become timid in their speculations as Christmas draws near. Nevertheless, we find some important musical doings goingforward in sundry localities, where the spirit of fashion or the desire of recruiting health still detains crowds from the metropolis. The season at Brighton is not yet exhausted, and impresarii and concert-givers are, at the last moment, bent on providing some luxury of entertainment for the seaside visitors about to fly ofT, at any given moment, to prepare for the festivities of the coming holy time. At Mr. Waite Vernon's concert, held in the musicroom of the Pavilion, on Monday evening, Mad. Lemmens-Sherrington appeared for the first time since the great "hit" she made in Robin Hood at Her Majesty's Theatre. She sang, among other things, the ballad " True love," from Mr. Macfarren's opera, and the scena " Ombre lcgere," from Dinorah, creating quite a furore in the latter. Herr Derffel gave his last " pianoforte recital" at the same place on Thursday afternoon.—The Edinburgh journals furnish lengthy accounts of the first subscription concert of the Edinburgh Musical Association, which took place on Saturday evening in the Music Hall, and at which several of our London artists assisted. Mad. (?) Louisa Vinning, Mad. (?) Laura Baxter (why two English ladies married to two English gentlemen should style themselves "Madame" has puzzled more than ourselves!), Mr. Tennnnt and Mr. Allan Irving were the singers; Herr Becker, the violinist, and Herr Lechmeyer, the pianist, instrumentalists; Herr Becker made a decided hit. The Saturday evening concerts increase in popularity. At the last the crowd was very great. Mr. Howard Glover's cantata. Tarn o' Shanter, according to the reliable information of the Evening Courant will be performed this evening, and we have no doubt will cause an unusual sensation, as the music is not only admirably characteristic but beautiful in an abstract sense. The production of this work speaks well for the energy and enterprise of the directors of the Saturday evening concerts.
We learn from a Manchester paper that the organ in St. Ignatius'? church (Roman Catholic), was re-opened on Sunday last by Mr. W. T. Best, organist of St. George's Hall, Liverpool. The organ has been entirely rebuilt and much enlarged by the eminent organ builders, Messrs. Kirtland and Jardine, of Manchester. A correspondent sends us a list of the stops which arc as follows :—
Great Organ, C C to F.
1. Grand Open Diapason 8 foot.
2. Open Diapason , 8 „
S. Stopped Diapason 8 „
4. Principal 4 „
5. Twelfth 2| „
6. Fifteenth 2 „
7. Sesqnilatera 3 ranks.
8. Trumpet 8 feet.
Choir Organ, C C to F.
9. Stopped Diapason Bass 8 feet.
10. Stopped Diapason, Treble 8 „
11. Dulciana 8 „
fl 2. Keraulophon, Tenor, C. 8 „
13. Principal 4 „
14. Flute, Tenor C. 4 „
15. Cremona, Tenor C 8 „
Swell Organ, Tenor C to F.
16. Double Stopped Diapason 1C feet.
17. Open Diapason 8 „
18. Stopped Diapason 8 „
19. Principal 4 „
f20. Mixture. 2 ranks 2 „
fai. Cornopean 8 „
f22. Oboe 8 „
Pedal Organ, C C C to F.—30 Notes.
f23. Orand Open Diapason 16 feet.
• |24. Bourdon 16 „
f25. Principal 8 „
■fSB. Mixture. 8 ranks ,
f27. Trombone 16 „
28. Swell to Great. I 30. Great to Pedals.
29. Choir to Great. | 31. Choir to Pedal*. There are three combination pedals to the great organ, and two to the pedal organ. Those stops marked with a dagger (f) are new, and all the others have been carefully revoiced. The soundboards, bellows, actions, &c, of the pedal organ, are also new. The movements generally throughout the organ have been reconstructed. The organ has a round and full tone, of great power, and may be fairly considered a very fine instrument.—At the last Glasgow Saturday evening concert the same party was engaged who assisted at the performance of the Edinburgh musical association in the morning. "The programme," writes the Glasgov Daily Herald, "contained a staff of artists which has neither been so strong nor so good since the commencement of the season. The singers were Mad. Laura Baxter, Mad. L. Vinning, Mr. Tennant, and Mr. Allan Irving; the instrumentalists, Herr Lechmeyer, pianist and composer, and Herr Becker, violinist. Mad. Laura Baxter displayed a fine alto voice ; and Mad. Vinning is an excellent soprano singer. Mr. Irving's baritone voice was highly esteemed, and his singing was repeatedly encored. Mr. Tennant's musical abilities are of a very high order; "Annie, dear, good bye," was sung by him in a manner well worthy of his talents. The performances on the piano by Herr Lechmeyer were executed in a masterly manner. Herr Becker is decidedly a first-class violinist, and his ingenious playing on that instrument deserves the greatest praise, flie band of the West York Rifles, under their able conductor, Mr. J. Deacon, also contributed much to the enjoyment of the evening. In consequence of the great attraction, the hall was crowded in every corner."—At Bradford we find the Festival Choral Society giving Mr. Macfarren's cantata Christmas with great success at St. George's Hall, the solo parts being taken by Miss Illingworth and Miss Carrodus, with Mr. Burton at the pianoforte, and Mr. Jackson, conductor.
"Christmas," writes theTBradford Observer, "is a cantata descriptive of the rustic festivities of an English Christmas in the olden time,—the song, the chorus, the carol, the dance, the merry talc, and other pastimes, are each brought out in succession with true English feeling and with a genial warmth suitable to the hospitable season pourtrayed, Mr. Oxenford's poetry finding an able exponent in the talented composer of the favourite new opera of Robin Hood. The music, to use the language of a metropolitan critic, 'is full of pure English melody, rich in choral effects, and glowing from beginning to end with fire and animation.' This beautiful work was interpreted on Monday evening in a manner highly creditable to the society, considering that it was tbc first time of its performance. The production of ^tho cantata was evidently a 'labour of love' with Mr. Jackson, the conductor, who was ably seconded in the beautiful pianoforto accompaniments by Mr. Burton."
Mad. Sainviixe's evening concert at the Hanover Squire Rooms, on Wednesday evening week, went off well. The vocalists were the fair beneficiare, Mites. Pacini and Stella, "rising young vocalists," Miss Lizzie Gilbert, Mr. Williams and Mr. Lee. Mr. Cunningham, who was announeed to sing "Come into the garden Maud," and "Thou art so near," was unfortunately unable to appear owing to "urgent private affairs," as we understood. Mr. P. Van Noorden was the pianist. He played an "Octave study" and an "Etude a la Valse" capitally. Mad. Sainville's best performance was the "brindisi" from Lucretia Borgia.
Just publUhed in 1 vol. 4to., price Ooe Guinea, dedicated by ,
TjlLEMENTS OF MUSICAL SCIENCE. By Robejst
I'-i II now N.
The design of this work Is to establish the Theory of Harmony on its true haw, and so tn simplify the study of practical harmony as to prove a useful key tn ttc writings as well us the compositions of experienced harmonists. The copious exanpsti in full score arc so arranged ;u to be easily read by ail who are accustomed to the bass clef.
London: Hamilton, Adams and Co.,Taternoster How; Addison, Hollier and Lucas. Regent Street.
AMUSICAL PRACTICE in the South of England TO HE DISPOSED OF immediately on advantageous terms—well sank Ok
nottce or n professor nf the pianoforte and singing, &c For particulars apply to Messrs.
Gray and Davison, 370 Euitoo Road, N.W.
NEW PIANO MUSIC,
ASHDOWN & PARRY, 18 HANOVER SQUARE.
"The harp that once thro' Tara'l Halls
11 Rondo appassionato" (dedicated to Mad. Davison}
Six Nocturnes (edited by F. Liszt) each
"Santa Lucia " (a brilliant transcription) ...
"Aux armes !" caprice heroique
"Valse de Salon"
March from Wagner's Tannhiiuser
"Prometheus." Galop brillant
Romance in A flat •
"La viillee des roses." Mazurka do Salon
"Josephine" do. do
Barcarolle in F minor
M Vedrat carino " (Don Juan) ... «.
"Battl, batti" (ditto)
"The mermaid's song " (Haydn) ...
Impromptu in E flat, Op. 90, No. 2
Impromptu in B flat, Op. 142, No. 3 (played by Mr.
Romance, Op. 48
Impromptu i la Mazurka, Op. (0 ...
Tarentelle, Op. 91
PIANO DUET. Rlgoletto (transcription of the Quartett) '* Hommage it sa Majcste Napol6on III." caprice
"Le retour de l'armee." Marche triomphale
"Don Juan." Grand Duo sur 1'opcra de Mozart...
March from Tannhiiuser, arranged by T. Mauss ...
AN EXTENSIVE ASSORTMENT
POEEIGN FEINTED MUSIC,
IMPORTED FROM GERMANY, FRANCB, AND ITALY
DDR1NO THR LABT 50 YEARS,
Including many Works out of Print and the Plates of which have been
MESSRS. BOOSET 8c SONS,
S8 HOLLES STREET, OXFORD STREET.
In consequence of their discontinuing the Sale of Miscellaneous Foreign Printed
ORCHESTRE SYMPHONIES, OVERTURES,
VIOLIN CONCERTOS—Scptuors, Quintctts, Quartern, Trios, Duets, and Solos.
VIOLONCELLO and TENOR MUSIC for ditto, ditto. FLUTE MUSIC—Concertos, Septuors, Quintctts. Quartetts,c . S r. CLAItlONET, HAUTBOY, HORN, and BASSOON MUSIC, irom Concertos to Solos.
I IIAKP and GUITAR MUSIC, of all kinds.
PIANOFORTE MUSIC, from Concertos to Solos, including an extensive assortment of Music for Four Hands.
VOCAL MUSIC in Score, Oratorios, Operas, &c, &c.
Ditto, ditto, with Pianoforte accompaniment.
THEORY and HISTORY of MUSIC.
F.ariy applications are recommended as of many of the Works only one or two Copies are left, and the whole Collection must be cleared off in the course of a short time. Hours of Sale from 10 to 4.
T_HE MARRIAGE OF GEORGETTE. (Lea Noces de Jeannette.) Boosey and Sons beg to giro notice that the Copyright of the above Opera belongs to them, and proceedings will be taken against any person infringing the tame,
« rpEN THOUSAND STARS WERE BURNING
'JL BRIGHT,"—New Hymn for Christmas. Harmonised Vocal Score and Organ* Sent post free for Four stamps. R. Andrews* Cheap Pianoforte, .Harmonium, and Music Saloon, 84 Oxford Street, Manchester, where may be had (he
Original Easter Hymn," Four stamps.
TO ORGANISTS. — GEORGE LAKE'S Christmas Hymn, " Hark 1 the herald angels sing," a simple setting, published in short •core, may be bad of the composer (Shirley House), Sydenham, by enclosing 6 postage
pANTERBURT HALL CONCERTS.—This Evening,
\J C. U. Gounod's Opera, FAUST, and selections from " Dlnorah," " Trovatore," "Macbeth," &c. After which, the ETHIOPIANS, consisting of Seventeen performers, organised expressly for this establishment, for the performance of Vocal and Instrumental Music, Comic and Sentimental, with Negro Delineations, Anecdotes, &c, in addition to the usual entertainment, The Fine Arts Gallery Is open from Eleven a.m. till Twelve p.m.
BUCKLEYS' SERENADERS — St. James's Hall, Piccadilly—Crowded houses every performance. Evening at 8. Saturday afternoon at 3. Tickets may be secured at Austin's Ticket Office, 2H Piccadilly, from 10 till &. Stalls, 3e.; area, 2s.; gallery, Is. No bonnets are allowed in the Stalls. Books of the Words, 6d. each. Change of Programme. "The most unique and varied; entertainment in London."
PECKHAM AMATEUR MUSICAL UNION The
HENRY HERSEE, Jun., President.
WALTER CHEESEMAN,5Hon- Sea
ONDAY POPULAR CONCERT LIBRARY. —
INSTRUMENTAL DEPARTMENT. (Edited by S. Arthur Chappell.)—
I Dussek's Sonata In B Flat (Performed, for the l-ourtli time, at the Monday
Popular Concerts, November 12, 1860—First Concert, Third Season.) No. 2—MoZart's Sonata In B Flat (No. 14), for Pianoforte and Violin, (rrequently performed at the Monday Popular Concerts.) VOCAL DEPARTMENT. (Edited by S. Artuur Chappell). 14 Name The Glao Day," Canzonet, written by John OxrnPord, Esq., composed by J. L. Dusrex (Sung by Madame LsusiENS-SnERHiNGToN, at the Monday Popular Concerts, Nov. 12, I860)—" Ah, why do we love?" (Macfarren). "Soft and bright the Gems of Night" (H. Smart); and " Thy pardon, dearest
Treasure" duet (Dussck). ,
London: Chappell & Co., 49 and 50, New Bond Street,
PROFESSORS of MUSIC who uso Prizes in their
JL classes and schools, aro recommended to consult RODERT COCKS and CO.'s extensive List of Musical Novelties, Classical and Popular, for Christmas Presents and
New Year's Gifts. Forwarded gratis and postage free Address Robert Cocks and
Co., New Burlington Street, Regent Street, W.
"\fILITARY PART SONGS. — The "YOUNG RE
-i-J-L CHU1T," for three equal voices. ;Mtuic by Kiicken; new words by G. Linley; arranged by J. Warren; on a card, 2d. Expressly adapted for the vocal unions of the volunteer rifles, as well as for singing classes, glee clubs, &c.
London: Robert Cocks & Co., New Burlington Street, Regent Street, W. .
USICAL DIRECTORY, REGISTER, AND
_ __ ALMANACK for 1861, will b« issued early in December, price Is. 6d.; per post Is. 8d. Advertisements and Lists of Music to be scut in by the 1st December, ■O Rudall, Rose. Carte and Co., 20 Cbaring Cross.
NEW MUSICAL WORK.
ANNALS OF THE KINGS AND QUEENS OF ENGLAND from; the CONQUEST to the REIGN of VICTORIA. The words written and the miuic arranged and composed by George Linley, embellished with an illustrative title by Jilian Portch, and elegantly bound in cloth price 10*. 6d.
London: Addison. Hollter and Lucas, 210 Regent Street; Simpkln, Marshall and Co., Stationers' Hall Court; and Hamilton, Adams and Co., Paternoster Row.
Price Sixpence. Free by post for Seven Stamps.
TO THE MUSICAL WORLD This day is Published, In the form of a neatly embossed Tablet, an iugenious, and, to any child, comprehensible contrivance, for facilitating the learning of the Musical Signatures (Sharps and Flats). May be had of Mr. John Towsrs, Professor of Dr. Adolph I). Marx's (Berlin) new system of Musical Instruction. 16, Grand Parade, Brighton.