VOL. 38-No. 51

U.

B.

UNDER THE DISTINGUISHED PATRONAGE OF

HER MOST GRACIOUS MAJESTY THE QUEEN,

H.R.H. THE PRINCE CONSORT,
H.R.H. THE PRINCE OF WALES,

THE PRINCES AND PRINCESSES OF THE ROYAL FAMILY,
AND MANY OF THE

Nobility, Clergy, Gentry, and Distinguished Families of the Empire.

Consisting of 30, 40, or 50 Performers, is conducted by Dr. Mark, and composed of the Advanced Pupils of the Royal College of Music, and some of the "Little Men," who

CANTERBURY HALL CONCERTS. This Evening,

C. H. Gounod's Opera, FAUST, and selections from "Dinorah," "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.-CHRISTMAS HOLI

DAYS.-St. James's Hall, Piccadilly.-Crowded houses every performance. Every evening at 8, and Two Day Performances on Wednesday and Saturday afternoons at 3. Tickets may be secured at Austin's Ticket Office, 28 Piccadilly, from 10 till 5. Stalls, 3s.; area, 2s.; gallery, 1s. No bonnets are allowed in the Stalls. Books of the Words, 6d. each. Change of Programme.

"The most unique and varied entertainment in London."

ST

(T. JAMES'S HALL.—A TESTIMONIAL CONCERT for Mr. HULLAH, under the patronage of the Right Honourable the EARL of CARLISLE, K.G., Lord-Lieutenant of Ireland, the Right Honourable W. E. GLADSTONE, M.P., Chancellor of the Exchequer, and the Noblemen and Gentlemen of the Hullah Testimonial" Committee will be given by the Members of the first division of Mr. Henken's Choral Association, on Monday Evening, the 31st December, at which eminent artists will assist.

1.Communications to be addressed to the Hon. Secretary to Council,

A. L. BAXTER,

2 Cumberland Villas, Stoke Newington. Just Published,

BREAK BREAK! BREAK! A Song-words by

ALFRED TENNYSON, Esq., Music by E. BUNNETT, Mus. Bac. Price 2s. 6d.
London: Leader & Cock, 63 New Bond Street.

"The well-known and beautiful stanzas of the poet-laureate, which will at once be suggested by the thrice reiterated "Break," have frequently been set, with more or less felicity, but not often with such real and unaffected expression as by Mr. Bunnett, who, in the present instance, shows himself worthy to be a bachelor of the same uni versity where Sterndale Bennett holds the rank of professor."-Musical World.

"ALLWORTH'S ART OF SINGING.

WAL

Second

Edition, just out, full music size, price 7s. A new and modern method for cultivating the Voice, and for gaining a perfect vocalisation-a practical work-Contains 35 pages of music. With a true method for acquiring the Shake, now for the first time introduced in a Singing Tutor. By T. A. WALLWORTH, Professor of Singing at the Royal Academy of Music, London.

Published by A. W. Hammond (late Jullien), 214, Regent Street; and may also be had of the Author at his residence, 81, Park Street, Grosvenor Square, W., where pupils are also received.

Harpist, Solo Pianist, and Organist-or

THE SECOND ORCHESTRA,

Conducted by Mr. Wrigley, which consists of 30 Performers, and is composed of the Little Men," who play Operatic and Popular Music, and sing favourite Airs and Choruses. Also a Vocalist, and Solo Instrumentalists.

Dr. MARK begs to inform young ladies and gentlemen who are preparing for the profession that he affords opportunities of introducing them to the public by performing at his concerts.

Orphans of the musical profession, and poor children possessing musical talent, are admitted free, and receive a general and musical education, together with board, lodg ing, and clothing, until the age of fourteen years, when they are either apprenticed to a trade or trained for the profession.

Little Boys, from five to nine years of age, apprenticed for three, five, or seven years by paying a moderate entrance fee to cover the expenses of instrument and books.

For Prospectuses, apply direct to the Royal College of Music, Manchester. Visitors are admitted from Nine to Eleven, a.m., and Two to Four, p.m. every day, Saturdays and Sundays excepted.

USIC R

"Mr. Harvey's compositions are marked by a decided originality of character. A delightful flow of thoughtful melody pervades all his works. Mr. Harvey, as a writer of music for drawing-room performance, is justly becoming one of the most popular of the day."-Globe.

"THE LAST ROSE OF SUMMER," as a Piano Duet,

arranged with variations by Mrs. Mounsey Bartholomew, is just published, price 3s., by Duncan Davison & Co., 244 Regent Street, W.

N.B. The above piece will be found suitable for pupils, moderately advanced. Mrs. Mounsey Bartholomew's acknowledged experience in tuition is a guarantee of the excellence of the above arrangement for that purpose.

[EW SONG-" That Handsome Volunteer," sung by NEW

Miss Emma Stanley in her popular entertainment of the "Seven Ages of Woman," composed especially for her by Emile Berger, is published, price 2s. 6d., by Duncan Davison & Co., 244 Regent Street, W. (Sung also with distinguished success, and invariably encored, by Miss Catharine Lucette, in her original entertainment, (with Captain Morton Price) at the Prince of Wales's Hall, Regent Street.)

BALFE'S NEWEST and most POPULAR SONGS.

s. d.

"If I could change as others change" (Sung by Laura Baxter) "I'm not in love, remember " (Sung by Miss Parepa)

20

"Oh! take me to thy heart again "(Sung by Miss Poole) Published by Duncan Davison & Co., 244 Regent Street, W.; where "I love you" may be obtained, transcribed for the Pianoforte by Emile Berger, price 3s.

The day, pretty darling, draws near to its close,
Come, cease from your play, on your pillow repose,
You peep from the cradle still laughing and bright,
Kind angels for ever preserve you, good night.
With freedom from sorrow, dear child, you are blest,
To you a pure heaven is your fond mother's breast;
Wild passion some day will your happiness blight,
Kind angels preserve you, my darling, good night.
Ah! happy is he who can slumber like you, :
Be ever, dear child, to your innocence true,

The righteous are watched by the spirits of light,
Who guard them while sleeping, my darling, good night.

"Few songs of modern days have achieved a more decided or better merited success than Herr Reichardt's charming lied, "Thou art so near and yet so far," which has for the last two years been the delight of all concert-goers and drawing-room vocalists of more than ordinary pretensions. Messrs. Duncan Davison and Co. have just published a new composition, from the same original and elegant pen, entitled "Good Night" (à cradle song). The words are exquisitely simple and unaffected, being the address of a mother to her sleeping babe; and it is but justice to Herr Reichardt to say that he has wedded an exquisite domestic poem to a most graceful, unaffected melody, which breathes the very spirit of maternal tenderness. The song, which is written for a tenor voice-the composer being, as our readers know, one of the first of living German vocalists-is in the key of F major; and to amateurs of taste we can cordially recommend "The Cradle Song" as a composition worthy of their attention."-Liverpool

Mail.

A SONG FOR THE SEASON. "THE CHRISTMAS

ROSE." (Poetry by M. A. STODART.) Composed by LOVELL PHILLIPS. Price 2s. 6d.

The Christmas Rose! The Christmas Rose !
'Mid wintry frost and snow it blows;

And opes its portals pure and fair,
When winds have swept the gay parterre.

Just like a true and constant friend,

Whose faith no storms of life can bend ;

Not the mere friend of summer day,

But firm when joy hath passed away.

This flower is like the joys that shine,

In sorrow's hour and life's decline;

When youth hath passed and pleasure flown,

And sad the spirit sighs alone.

Then marvel not that thus I twine'

My thoughts around this gift of thine,

And muse on hopes and joys that last,

And bloom through life's most piercing blast.

London: Duncan Davison & Co., 244 Regent Street, W.

MRWEISS'S NEW DONT KNIGHT'S

R. WEISS'S NEW SONG. "THE

WEISS.

The custom of watching armour in church was a religious duty imposed upon knights who used to consume whole nights in prayer to some saint whom they chose as their patron.

Sir Neville spurr'd his gallant grey,
And hied him on his lonely way;
But ere he from the saddle sprung,
The abbey's midnight chimes had rung.

He doffed his armour, whose fair sheen
The stains of battle ne'er had seen;
And said, "Heav'n send thee I may be,
A worthy son of chivalry.”

In hours when bright remembrance came
Athwart his memory like a flame,!

A crimson scarf was given to tell,
Of one who loved Sir Neville well.
The gift was fondly cherished yet,
And while his burning glance it met,
He sighing said, "Be thou to me
The beacon star of victory."

Sir Neville kept his vigil lone,

Till the matin star had come and gone,

He sped him on his gallant grey.

Then donned his armour and away,

published, price 2s. 6d.

In a leafy garden, 'neath the evening star,
Hand in hand they wander, they that lovers are.
In the west a gleaming, where the sun went down,
In the east a splendour from eve's brightning crown;
Gloom beneath the branches, odours in the air,
Happy are the lovers wandering slowly there.
Night hath many voices, none to him so dear
As the low-toned whispers dying on his ear;
Night hath dim revealings, none for him so high,
As the true love beaming in that soft dark eye;

In a summer garden, 'neath the evening star,
Ever will they wander, they that lovers are.

London: Duncan Davison & Co., 244 Regent Street, W.

AY."-New Duettino for equal Voices, by HENRY

66

MAY

SMART, is just published, price 2s. 6d.

THIS WORLD IS A GARDEN."-Song by GEORGE and enthusiastically encored, at the Lyceum Theatre, in the successful Operetta of "THE PETS OF THE PARTERRE."

This world is a garden, and women I'll prove,
Are the flowers that surround us wherever we rove,
The blooming and blushing, the sad and the gay,
All beauties combined in dear nature's bouquet.

London: Published, price 3s., by Duncan Davison & Co., 244 Regent Street, W.

JEW WALTZ, "The Woman in White," Valse mys

MEY

EYERBEER'S ROYAL WEDDING MARCH (Quatrième Marche aux Flambeaux), composed in honour of the Marriage of the Princess Royal of England with Prince Frederick William of Prussia, which was played with such immense effect by the Band of the Guides at the Fête of the Orpheonistes at the Crystal Palace, is published for the Pianoforte, price 5s, by Duncan Davison & Co., 244 Regent Street, W.

-

MUSIC AND THEATRES IN PARIS.

Dec. 6, 1860.

AT last the long-talked of new ballet, due to the invention of the celebrated ex danseuse Mad. Taglioni-Le Papillon, as it is called, - has emerged from its chrysalis state, and expanded its bright wings before an admiring multitude. Never in the annals of insect life was butterfly doomed to more tribulations than the heroine of this pantomimic drama, who, by the way, is no butterfly at all, but a beautiful human being of the female sex. Some account of the story may interest your readers, especially as the new ballet will no doubt be mounted on one or other of your great operatic stages-perhaps on both. The scene is in Circassia. Farfalla is a charming young creature in the service of the wicked fairy Hamza, of whom the young prince Djalma, nephew of the Emir Ismael Beg, grows enamoured. She thus becomes the rival of the fiery Hamza, who employs her supernatural powers against her. By a wave of her wand, she changes her into a butterfly, in which shape Farfalla is captured by the prince, who, with the cruel indifference of a Kirby or a Spence, pins her up against the bark of an oak tree. Immediately, by an optical device of the most charming effect, the butterfly is transfigured, and, detaching herself from the tree, is seen to sail through the forest amidst a swarm of winged sisters. Djalma recognises the young girl with whom he had fallen in love, and hastens in pursuit of her, but the wicked fairy again intervenes with her magic wand, and entangles the butterfly in a net. A woodman however succeeds in robbing the old fairy of her wand, and Farfalla is thus delivered from her captivity, while Hamza is herself caught in her own trap. The captive fairy is brought before the Emir Ismael, who has a long and terrible reckoning to settle with her. She it was who years ago had carried off his beloved daughter, and that daughter is Farfalla herself. Hamza is frightened by the threats of the Emir, and as she has recovered her magic wand, she promises to restore his daughter to him. Accordingly, Farfalla is presently seen preceded by a brilliant procession, and seated in a palanquin. Ismael is transported with joy, and presents his daughter to Djalma, whose bride he had destined her to be. Djalma at first rejects the offer, but recognising Farfalla, he throws himself at the feet of his cousin. Just as he is about to imprint a kiss on the cheek of his betrothed, Hamza steps between them and intercepts the kiss to her own advantage. At the same instant her wrinkles, hoary locks, and decrepid figure vanish, and she appears dazzling with youth, beauty, and magnificent attire. Farfalla resumes her butterfly shape and flutters away, while the Prince falls down in a swoon, fascinated by the magnetic glance of Hamza, who strikes the earth with her wand, and transports herself with him to her enchanted garden. Djalma on awaking, imagines he has been dreaming, and while he is gazing in wonder around him, he hears a slight rustling as of wings, and beholds Farfalla approaching him as she hovers above a bed of flowers. He seizes her and places her in safety in the midst of a cluster of roses. Hamza reappears surrounded by a brilliant retinue, and preceded by a lovely child bearing a lighted torch, the torch of hymen. The light attracts the butterfly; she flutters restlessly round it, and at last burns her wings. Immediately the spell is broken. The magic wand of the fairy is shattered in her grasp, and Farfalla resumes the form of a lovely maid, to the great joy of the prince, of his uncle, and in fact of all Circassia.

Mlle. Emma Livry, on whom the filmy mantle of the renowned Taglioni has airily descended, plays the heroine of this graceful fiction, and has completely fulfilled the highly-wrought expectations of the public. The marvellous grace and agility with which she sustains her butterfly attributes are really admirable. The air seems her natural element, and when she touches the earth, it is only to bound up from it with renewed buoyancy. Mlle. Louise Marquet distinguished herself not a little also as the fairy Hamza. To veil her natural gifts under the semblance of age and decrepitude, must have been a mortifying task, but she amply repaid herself in the second act by appearing twice as radiant with youth and beauty, as if her charms had never suffered the temporary eclipse. M. Jacques Offenbach's music is graceful, lively and rhythmical, as ballet music should be. The melodies are of the popular and catching sort, and one air in particular, that of

the Valse des Rayons, made a vivid impression, and is destined no doubt to be done to death by wandering organs. Mlle. Livry was enthusiastically called for at the fall of the curtain, and appeared leading by the hand her theatrical sponsor, Mad. Taglioni, the once adored executant and now ingenious inventress of ballets. The Emperor was present on the first night, and seemed gravely to enjoy the performance. By the way the recent ministerial changes which have placed Count Walewski in the position of M. Fould, also invest him with the control of the Imperial Opera. This is a curious conglobulation of attributes, to concert measures of imperial policy with the head of the state, and dispose of the destinies of cantatrices and ballerinas. Figaro was not more versatile in the service of his patron than the supple Count Walewski. If the minister is allowed a benefit after the manner of other operatic managers, he might increase its attractions by effectively making his début in the part of the accommodating barber. His "Largo al factotum" would be irresistibly natural, and Ronconi would have to look to his laurels. Drawing-room operas again promise to be in vogue this season among the wealthy patrons of musical art, and Mad. Gavaux Sabatier, the fauvette des salons, who so enchanted London some ten or eleven years ago, having resumed her profession, will be the reigning star of these performances. She sang the other evening at Mad. Orfila's in an operetta entitled La Perruque du Bailli, with brilliant success. The words and music of this little book, both of which are charmingly graceful, are by Mlle. Pauline Thys, now Mad. Sebault.

A new and important phase in the musical pitch movement has just occurred. At the last sitting of the Royal Academy of Belgium, in the Fine Arts class, M. Fetis read a report on the question whether it was expedient that Belgium should imitate France in adopting the measures which have there been taken with respect to the new diapason. The learned professor came to the conclusion that the diapason should be fixed as it at present exists, but not lowered. M. Fetis probably wishes that the C sharp, "de poitrine" of certain exceptionally gifted tenors, should lose none of its marvellous character

Mad. Carvalho is now at Nantes, where, after singing at a concert given by the Société des Beaux Arts, she is giving a series of performances at the theatre. There is an excellent operatic troupe there to assist her, under the direction of M. Solié.

The opera balls, under the direction of Strauss, whose orchestra will be employed, are to commence on the 15th of this month, previous to which there will be a ball for the pension fund of the establishment.

I suppose you have already heard of the death of poor Louis Lurine, the director of the Vaudeville. It was quite sudden, and he was in the prime of life. He was a very amiable and a very clever fellow, and is much regretted by his friends, of whom he had many. They buried him last Sunday; the funeral service was per formed at Notre Dame de Lorette.

December 12, 1860.

It is an ill wind that blows nobody good. The new opera of M. Offenbach, Barkouf, which has been put off on account of Mlle. Saint Urbain's illness, has caused the manager of the Opéra Comique to bring unexpectedly forward a little opera called Eventail, which its authors had given up all hope of seeing performed before next year, if at all. The words are by MM. Barbier and Carré, and the music by M. Ernest Boulanger. In plot it resembles not a little Alfred de Musset's Caprices de Marianne, except as regards the dénouement. A young widow, who is grow ing tired of her lone condition, is beloved by a poet, but being both cruel and a coquette, she has him driven away with cudgels when he attempts to serenade her. The poet confides his sorrows to a friend, a military gentleman of swaggering and tavern-haunting propensities. He attributes the poet's failure to his romantic nonsense, takes his mandoline from him, and promises to show him how to win a woman's heart. The captain places himself under the widow's balcony, and trolls forth a jolly ditty, with a slight spice of satire about it. The lady truly answers to the appeal, and shows herself at the balcony, but it is to throw the minstrel a penny. The captain is exasperated at this treatment, and joins the poet in a scheme to mortify the proud beauty. In

M. Offenbach's opera will, it is said, be produced on the 20th inst., and Mlle. Marimon will take the part intended for Mlle. St. Urbain.

The new ballet Le Papillon proceeds in its career with increasing success. The Emperor has been twice to see it since the first night. Whether he seizes eagerly at anything that will momentarily draw his mind from the care of his present anxious position, or whether he desires to give a fillip to the fortunes of the establishment under the immediate superintendence of his prime minister, I know not. Perhaps both motives weigh with him.

At the Italian Opera Marta has been revived, and Mad. Alboni has made with her brilliant singing and consummate acting in the part of Nancy, a complete sensation.

In the theatrical department, there has been a new comedy in five acts at the Odéon, by M. Louis Bouilhet, entitled L'Oncle Million, which has proved successful, and at the Palais Royal two amusing little pieces have been equally fortunate. One is called Le Passé de Nichette, the other Le Serment d'Horace. The latter is by M. Henri Murget, and does not belie its authorship, for it abounds in pleasant and witty sallies. The Vaudeville, until a new manager is appointed, is being carried on by a committee composed of MM. Lafont, Brindeau, and Saint Germain.

THE ENTERPRISING IMPRESARIO.

CHAPTER III.

WOULD you see the impresario in trouble-a cloud of thunder on his brow-the victim of despair? Watch him when he hears that his popular primo tenore, or the favourite prima donna is indisposed. The opera which is drawing crowded houses has to be changed, or sung by a substitute not attractive to the public. The manager may for a while have thrown the reins of government carelessly aside, a flourishing account from the box office having increased his appetite for the good dinner at which he is comfortably seated. A delicate little note is handed to him (whether from a tenor or prima donna does not signify; they both indulge in similarly diminutive sized envelopes). It is opened; the manager turns pale as he peruses the contents; a few incoherent sentences escape his lips; his dinner and peace of mind for four and twenty hours are irremediably ruined. The delicate little note informs him that a change of opera is unavoidable. The soup is left untouched; he hastens to the theatre; his secretary is forthwith despatched to summon other artists; the call-boy runs for his life to the printer; instructions are given to the doorkeepers, scene shifters, in fact, to the entire establishment, to prepare for the emergency. A bill is drawn up, expressing the regret of the "management" (why the impresario of an Italian Opera insists upon calling himself the " management," I know not) in being obliged to announce a change in the performance of the evening, Signora So-and-so being unable to appear. The secretary returns, having had a furious drive to all the outskirts of London (singers, strange to say, in this country, always manage to live as far away as possible from their place of business, the theatre), and finds the manager pacing his room in an agony of disappointment and uncertainty. Sometimes the secretary has been successful, and tranquillises his chief with words of consolation. Sometimes, however, it is otherwise; and he is the bearer of anything but satisfactory intelligence: the artists he has sought may not have been to be found, or, if found, are equally unable to appear as the singer whose illness is the cause of all the difficulty. The impresario is now in what is popularly called quandary," and uncertain whether to open the theatre or not. Generally matters are so arranged that it is unnecessary to resort to the last alternative; but the impresario's appetite and dinner are spoiled, and his temper pretty considerably ruffled. The chances are,

The alteration was made at a very short notice. Ronconi, who, according to a stipulation in his engagement, had the part of the Barber allotted to him, was out of town. No other opera, under the circumstances, being practicable, Tamburini, after much coaxing, consented to sing the Figaro, and repaired to the theatre at the usual time. A few minutes before the opera was to begin Ronconi made his appearance, and insisted upon his right to the part Tamburini had undertaken. He went to his room and dressed. As the curtain was about to be drawn up, there was Ronconi on one side of the stage and Tamburini on the other, both in the well-known costume, and ready to appear as the vivacious Figaro. Here was a chance of a Barbiere after the fashion of the Corsican Brothers. It was truly a momentous question. Had the curtain been raised, the Figaro would have had a "double," which would have puzzled the audience more than even Charles Kean's celebrated impersonation of the De Franchis. The commencement of the opera was for a short time delayed while the matter was explained to Tamburini, who, to his honour be it said, relinquished the position with the politeness of a gentleman and good feeling of a true artist.

When it is considered how entirely the fulfilment of the announcement of an Italian opera depends upon the health (and sometimes, with all deference be it said, the caprice) of the sensitive soprano or tenacious tenor, it is, perhaps, surprising that disappointments are not more frequent, and that an enterprising impresario can at any time enjoy his dinner undisturbed. ANTEATER.

OTTO JAHN'S "MOZART."

(From the Morning Post.)

SECOND ARTICLE.

MR. OTTO JAHN, having duly acknowledged the efforts of pre ceding biographers, and informed us that such new sources of information have been opened up to him as to make it his duty "to erect an entirely new building upon a new ground” (“ auf neum grund ein ganz neues gebünde aufzuführen ") proceeds at once to his work.

The first book, embracing a period of twelve years, from 1756 to 1768, treats of Mozart's boyhood, and naturally includes an account of the composer's family, especially of his father, Leopold Mozart, the violinist and composer, who exercised so very great an influence over his son's career.

Mr. Jahn gives Leopold Mozart a very high character; but here we cannot quite agree with the generous biographer. May it not be gravely questioned whether the terrible illnesses of which he speaks (four desperate struggles for existence within a short space of time) were not brought on in a great measure by the unnatural exertions and constant excitement to which Wolfgang was subjected in being at a very tender age carried from court to court for exhibition as a prodigy? Were such proceedings beneficial to any one but the father who pocketed the pecuniary rewards?

In an artistic point of view, this eternal locomotion and interruption to study could be of no use to the little wunderkind; and it was difficult not to ascribe the early death of the immortal composer, which deprived the world of many a masterpiece, partly at least to the forced premature development of his powers. Had Leopold Mozart been the sensible, honest, and amiable person Mr. Jahn supposes, he would have felt that a young, delicate creature like Wolfgang, whose nervous system was so exquisitely sensitive