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Pait I. — Quartet. In D minor, for Two Violins, Viola, and Violoncello—first time at the Monday Popular Concerts—(Schubert), M. Viec-xtemps, Herr Rieh, M. Schbbubs, and Signor riATTi. £ong (Benedict). Miss Lascellbs. Song (G. A. Macfarren), Miss Augusta Thomson. Prelude and Fugue, a la Tarantella, in A minor —first time at the Monday Popular Concerts—(J. S. Bach), Miss Ahauella God
Past IT.—Sonata, in C minor, for Miss Arabella Goddard, Pianoforte, and M. Vieuxtemps, Violin—first time at the Monday Popular Concerts—(Beethoven). Song (Henry Smart), Miss Lascellbs. Canzonet (Dussek), Miss Augusta Thomson. Quartet, In E major, No. 59, for two Violins, Viola, and Violoncello (Haydn)—first time at the Monday Popular Concerts—M. Vieuxtemps, Herr Ribs, M. Schbburs, and Signor Ptatti.
Conductor—Mb. BENEDICT. To commence at Eight o'Clock precisely. Stalls, 5s.; balcony, 3s.; unreserved scats. Is.
Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly; Messrs. Cramer and Co., Hammond, Addison and Co., Schott and Co., Ewer and Co., Simpsmi, and Octtraann and Co., Regent Street j Bradberry's, Loudon Crystal Palace, Oxford Strwt; Duff and Co., C5 Oxford Street; Prowsc, Hanway Street; Cnidley, 195 High HoU born; Purdav, 50 St. Paul's Church Yard; Keith, Prowse, and Co., 18 Cheapside, Turner, 19 Cornhill; Cook and Co., 6 Finsbury Place, South ; Humfress, I Old Church Street. Paddington Orcen; Fabian, Circus Road, St. John's Wood; Ranslord and Son, 9 Princes Strret, Cavendish Square; Ivory, 975 Huston Hoad; Mitchell, Leader and Co., Ollivier, Campbell, Hopwood and Crone, and Willis, Bond Street, And Cuapfell and Co., 50, New Bond Street.
A correspondent will be glad if the editor of the Musical Would will answer the following questions in his notice to correspondents, also the same questions with respect to Signor Giuglini:—
What is the age of Mile. Titiens?
Where is she living?
What place is she a native of?
Has she any relations living with her?
What is her private character?
What is her Christian name?
Of what religion is she f
How long has she been on the stage?
Is there any talk of her being married?
Correspondent's initials, E. M. E. December \st, 1860.
Musicas.—Petipace is on a journey. Call him louder. J. T., Brighton.—If our correspondent will forward a description of his implement we shall be happy to insert it.
Disappointment.— The compositions are nowhere to be found. It is possible they may have been mislaid, possibly they may never have come to hand. In either case our correspondent might, without much trouble, forward other copies to the office of The Musical World.
Mb. T. Dyson will receive early attention.
The Musical World may be obtained direct from the Office, 28 Holies Street, by quarterly subscription of Five Shillings, payable in advance; or by order of any Newsvendor.
Advertisements are received until Three o'clock on Friday After* noon, and must be paid for when delivered.
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|f astral IHorlij.
LONDON: SATU11DAY, DECEMBER 22, 1860.
WE have much pleasure in directing the attention of oar readers to the following: —
Mb. Hullah.—A strong desire has been manifested, in various influential quarters, to render some service and encouragement to Mr. Hullah, late of St. Martin's Hall, at a very trying period of his life. With the view of consolidating this general feeling of goodwill towards a gentleman who has faithfully devoted many years and many acquirements and energies to an important branch of public education, and whose labours have now to be begun again, the following Committee has been formed:—
Charles Dickens, Esq., Gadshill, near Eoehestcr, Kent, Chairman. The Most Noble the Marquis of Lansdownc, Bowood, Wilts j the Bight Hon. Sir J. T. Coleridge, Knt., Heath's Court, Ottery St. Mary,Devon; Sir James P. Kay Shuttleworth, Bart., 38 Gloucester Square, Hvde Park, W.j the Very Bev. B. C. Trench, D.D., Dean of Westminster, Dean's Yard, S.W.; A. W. Blomfield, Esq., 8 St. Martin's Place, W.C; W. Butterfield, Esq., 4 Adam Street, Adelphi, W.C.; the Bev. Samuel Clark, the College, Battcrsca, S.W.; Harry Chester, Esq., 63 Rutland Gate, S.W.; J. D. Coleridge, Esq., 3 King's Bench Walk, Temple, E.G.; the Rev. Derwent Coleridge, St. Mark's College, Chelsea, S.W.; the Rev. R. Elwyn, Charterhouse, E.C.; Edward Foster, Esq , 220 Marylebone Road. N.W.; Edward J. Fraser, Esq., 26 Craven Street, Charing Cross, W.C; James Humphry, Esq., 49 Hilldrop Crescent, Holloway, N.; II. C. Hextall, Esq., 145 Cheapside, EC; T. H. Headland, Esq., 9 Heathcote Street, Mccklcnburgh Square, W.C; the Rev. H. W. Phillott, Staunton-on-Wye, Herefordshire; the Bev. E. H. Plumptre, Kings College, W.C; Geo. T. Porter, Esq.. 4 Victoria Street, Westminster, S.W.; Geo. Richmond, Esq., 10 York Street, Portman Square, S.W.; H. Wedgwood, Esq., 6 Queen Anno Street, W.
Subscriptions will be received on behalf of the Committee by any Member of the Committee, or by Messrs. Coutts and Co., Strand, or Messrs. Glyn and Co., Lombard Street, London. The Committee are already enabled to announce the following :—
The Marquis of Lansdownc 100/.; the Right Hon., W.]E. Gladstone, M.P., Chancellor of the Exchequer, 50/.; Sir J. P. Kay Shuttleworth, Bart., 50/.; A. Hobhouse, Esq., 50/ ; G. Richmond,Esq., 25/.; S. Pitts, Esq., 10/.; C. Dickens, Esq., 10/.; E. C Tufnell, Esq., SL; Bev. E. H. Plumptre 5/.; E. Foster, Esq., 100/.; H. Wedgwood, Esq., 25l; E. Raphael, Esq., 5/.; Harry Chester, Esq., 21/.; Rev. F. D. Maurice 101; H. C. Hextall, Esq., 50/.; W. Butterfield, Esq., 25/.; T. H. Farrar, Esq., 10/.; J. Humphry, Esq., 20/.; E. J. Fraser, Esq., 20t\; E. B. Denison, Esq., Q.C., 10/.; A. W. Blomfield, Esq., 5/.; Rev. D. Coleridge, 10/.; Rev. T. Helmore 5i; Mrs. Carr 5/.; Rev. S. Clark 10i; Rev. Muirhead Mitchell 25/.; C. Wcntworth Dilke, Esq., 10/.; Rev. Thos. Astley Cock, King's College, London, 20/.; S. Servante, Esq., il. E. J. Fraser, Hon. Sec., 26, Craven Street, Charing Cross.
Mr. Hulluh's claims need no advocacy. They speak for themselves. We understand that in addition to the subscription two grand concerts (morning and evening) are being organised for bis benefit. No professor of whateTer eminence will withhold his services on such an occasion. As soon as we are acquainted with further particulars they shall be published. Meanwhile our columns are open to any suggestion that may help the cause.
THE last of the Monday Popular Concerts was interesting, for more than one reason, and especially for the introduction of a name which has hitherto been somewhat unaccountably ignored. Steibelt may be neither a Dussek nor a Hummel, but his merits are too solid not to bo taken into account by directors of entertainments such as these; a principal object of which, if we are not mistaken, is to explore the whole field of art-culture, from the Bach-ScarlattiHandel period until now. To trace further back would involve the consideration of a still more various, comprehensive, and extended plan; but in attempting thus much the Monday Popular Concerts are already affording valuable aid to the progress of musical taste, and thus fully establish their claim to be viewed in the light of a bona fide art institution. This necessarily assumed and unanimously recognised importance, however, brings with it certain inevitable duties. To accomplish with entire success their cheerfully accepted and highly honourable task, it is manifestly insufficient to parade a catalogue of the most eminently celebrated names. A prominent feature of their mission is unquestionably that of revivals. Dead giants must temporarily make room even for living dwarfs. The world has only one conglomerate ear, and cannot listen to all at once. But when the dwarfs have strutted and the asses brayed for an hour, the world, if directed by skilful and conscientious pioneers, will once more readily give attentive audience to the lions aad colossi. Bound about these last, moreover, are grouped a number of healthy, strong and genuine workers, who, if they achieved less than the others, are not the le3s worthy to revolve in their direct vicinity, as satellites and planets. There can be only one sun to a system; but the light derived from its solitary magnificence is reflected by the lesser stars, the more brightly a3 they approach nearer to the .self-luminous centre of their different orbits. But, to quit the celestial spheres, into which we have soared unwittingly, and redescend to earth;—such labourers on the fertile soil of art as Daniel Steibelt, &c, must not be passed over in a scheme like that of the Monday Popular Concerts. In presenting his patrons (the "great public") with so fair a specimen of Steibelt's genius as the sonata in E flat, dedicated to Mad. Bonaparte, Mr. S. Arthur Chappell, the active, zealous, and really enterprising manager, has done nor less nor more than see his way clearly though the carrying out of a principle professed at the outset, and—to the credit of those concerned, be it said—adhered to with immovable pertinacity up to the present moment. "Whatever shades of opinion might have existed in reference to the precise value of this particular sonata—as a plastic whole, as an artistic structure, or simply as an exhibition of individual acquirement,—its thorough adaptability to the place accorded it on Monday could hardly otherwise than, by common consent, be admitted. The appearance of Steibelt, therefore, at the forty-seventh of the Monday Popular Concerts was hailed with satisfaction, as the opening of a new vein of interest; and gracefully as the hitherto forgotten master was introduced, through the medium of Miss Arabella Goddard—in whose agile and expressive fingers lives an unfailing eloquence with which mere verbal arguments cannot compare—his success was triumphant. Miss Goddard's remarkable talent,notwithstanding the youthfulness of its possessor, has for years been the lamp to light earnest seekers after the beautiful to those treasures of the past which have so long] lain hidden and neglected, and into which, with the co-operation of rare genius and kindling enthusiasm, she'breathes new life. In an admirable notice of the last of the Monday Popular Concerts, the musical critic of the Daily Nexes pays a warm U-ibute to
Miss Goddard, the more immediately appropriate, inasmuch as it is connected with her revival of the sonata by Steibelt, to which allusion has been made. We subjoin an extract:—
"The concert of last night drew the most crowded audience of the season; the great attractions evidently being the first appearance of Miss Arabella Goddard and Mr. Sims Reeves. Oar fair pianist has been absent from town for a considerable time, engaged, as we learn from the provincial papers, on a very successful tour in the west of England. She received an enthusiastic welcome. Her first performance was Steibelt's sonata in E flat for the pianoforte solo, dedicated to Madame Bonaparte ; a chef-cTceuvre of one of those great composers of the eighteenth century whose admirable works for the pianoforte Miss Goddard has done so much to revive. She has made the long-forgotten name of Dussek once more a household word familiar in the mouths of the English public, and is now apparently going to do the samo thing for the name of Steibelt, by showing us that he, too, is a great master, whose works have been allowed to fall into unmerited neglect. From this sonata in E flat Steibelt may be said to belong to the school of Mozart; but his music shows individuality of character, a brilliant imagination, and much grace and delicacy. His cantabile phrases are charmingly melodious, and his bravura passages are sufficient to tax the powers of the most accomplished pianists even of the present day. Miss Goddard's playing of this sonata was absolute perfection. We could not even imagine a more exquisite combination of tone, execution, and expression."
There is still another sonata from the same pen, and in the same key (E flat), to which Miss Goddard's attention might advantageously be directed. We mean the sonata, Op. 60, inscribed to the Duchess of Courlande, an eminent dilettante performer in her day,—a "virtuoso," indeed, of the first rank—who received instructions in Paris from Dussek a3 well as from Steibelt, and to whom Dussek, as well as Steibelt, dedicated one of his most remarkable compositions.
IEXPERIENCE is the best of all instructors. There can J be no mistake about the lessons she teaches. He that will not learn what knowledge inculcates is either wilfully blind, or is unable to better his condition. It is to be hoped that Mr. E. T. Smith has been taught wisdom from the past season at Her Majesty's Theatre. Enterprise and energy do not always command the success they merit, and speculation, for the most part, is a mere hazard of the die. The new manager of the great opera in the Haymarket is a bold thrower as well as a shrewd and liberal director. His shrewdness and enterprise led to the establishment and ultimate success of a second national opera; but his love of playing at chances with the fickle goddess spoiled what promised to turn out one of the most lucrative of modern theatrical undertakings. "Who doubts that, had Mr. Smith abided by the English performances alone at Her Majesty's jTheatre, he would have filled the coffers of his treasury? Can anybody call to mind on the boards of any Opera whatsoever, foreign or native, a more legitimate success than that of Robin Hood at Her Majesty's Theatre? Could any one have anticipated a failure, under any circumstances, for Mile. Titiens and Signor Giuglini? It is but justice to these great singers to say that their want of success was entirely irrespective of artistic considerations. The public who support the Italian Opera were out of town; and the music-loving section of the public who remained, not caring for Italian music, were uninfluenced by reduction of prices. Moreover the attractions of the new English company were almost unprecedented. Mr. Sims Reeves'return to the stage after several years'secession would alone have created the most powerful excitement. Then there was the first appearance on the boards—in England, at all events—of Mad. LemmensSherrington, who had elicited such unqualified praise from every one who knew her in the concert-room, and about whose dramatic future the best anticipations were formedin the high« estquarters. Thefact, too, that the great theatre of the aristocracy would be opened for the first time for English opera constituted a strong appeal to those who, standing up for the honour of their country, love to behold national amusements treated with as high regard as those of the privileged classes, and would be inclined to view such a circumstance as a breaking down of one of the strongest and most invidious barriers between the nobility and the people. Hundreds, no doubt, supported English opera at Her Majesty's Theatre who never lent their countenance to Italian performances, there or elsewhere, either not caring about them, or acting on a false principle. When to the above unusual causes of attraction it is added that the opera first produced was from the pen of one of England's most accomplished living musicians, and that the libretto, founded on a popular English legend, was from the pen of one of England's most accomplished living writers, we have said enough to show that the success of Robin Hood was the direct result of natural causes.
Under these circumstances, what possible chance had the Italian Opera of succeeding? Everybody can now answer, "none whatever;" and yet few, if any, were wise enough at the commencement to hint at such a conclusion. Nay, was it not predicted by more than one most sapient aristarch of the stalls that it was injustice to English Opera and native talent to place them side by side with acknowledged masterpieces of the Italian repertory, and in approximation with two of the most eminent foreign artists of modern times? Moreover, did they not augur utter annihilation to the national speculation in consequence? Now, however, everybody blames Mr. Smith for his want of foresight in not seeing that the establishment of Italian Opera at that period of the year was a mockery and a delusion. The manager, nevertheless, did not act without some show of reason. Having engaged Mr. Sims Reeves as a first step towards the establishment of English Opera, and finding that the great tenor would sing three times a week only, Mr. Smith was compelled to look for attraction on the remaining three nights, or, in point of fact, to sacrifice those nights. In an unlucky moment—no doubt thinking that he had thus the power of conciliating two distinct sections of the public at once— he secured the services of Mile. Titiens and Signor Giuglini, and announced a series of Italian operatic performances, to alternate with the English. This was the head and front of his offending. Had he not had to pay the two foreign artists exorbitant sums — amounting almost to the entire expenditure on the English Company—he would at least have escaped scot free. The effects of the new coalition season may be stated simply thus: —a great deal of money was brought to the treasury by the performances of Robin Hood,bat the larger portion was required to reimburse Mile. Titiens, Signor Giuglini, &c. Anguish.
WHAT has become'of the ballet? We have two Italian operas, two English operas, and actually no ballet—or at least none that anyjone thinks it worth while to stay and see after a long operatic performance. The ballet decidedly went out with Mr. Lumley. No choregraphic star of the first magnitude hasjbeen seen in London since Rosati and Pocchetti danced and mimed so admirably in the pretty ballet of the Somnambule, which was revived as if to give appropriate choregraphic brilliance to the last days of Lumley's
management. We do no*, regret the ballet much. Let it go. But if it is to disappear, we should like it to vanish altogether; not merely as a separate entertainment, but also, and above all, as an element in our operas to whieh at present it seems to be considered indispensable. To have in the same entertainment one set of characters who express themselves not in ordinary speech, but in song, and another who replace the spoken language of everyday] life by gestures and dancing is too absurd. Let us have either, but not both—at least not at the same time or in the same piece. Such a mixture is worse even than the confusion of speaking with singing in the Operas Comiques of France, of which, by the way, the form was not invented by poets and musicians, but was forced upon the French by the stringent government regulations in favour of the one recognised Operatic Theatre.
Therefore, we say again, if we are to have no more legitimate ballets—no more Esmeraldas, or Sylphides, or Alms*, or Gitanas—let us gain what we can by this loss, and exclude divertissements of dancing from our operas, or at least not have the corps de ballet dragged into them by the head and shoulders as, in a figurative sense, is too often the case at present.
But after all, why should the ballet die? We turn to our dramatic theatres and find Miss Lydia Thompson gaining wreaths of success at the Lyceum, while at the St. James's, bouquets of well-mprited approbation fall to her imitator (or at least follower) Mile. Albina di Rhona, to whom, by the way, Mr. Owen Meredith Bulwer Lytton might appropriately dedicate one of his forthcoming Serbski Pesme, or Songs of Sewid. Might not ballets, we mean legitimate ballets, containing nothing but pantomime and dancing, be given with good results at the Royal Italian Opera and at Her Majesty's Theatre? The managers at both these establishments prefer pantomimes at Christmas, it will be said; but why not get up ballets on pantomime subjects? The cattle show, for instance, as we could have treated it, would have been an admirable subject for a grand ballet in the antique style.
"Did the ancients, then, have cattle shows?" it will be asked.
"No; but the ancient Egyptians worshipped oxen, and danced before the sacred Apis, and fed him on oilcake like the bovine heroes of Baker-street; so that Apis, the holy prize ox of Egypt, might easily have been made the] central figure in a ballet, which again might easily and naturally have been connected with the Baker-street cattle show. The danee of the Hebrews around the Golden Calf could also have been represented — the Golden Calf being, of course, an infant heifer to whom a medal of gold has been awarded for his obesity.
Could not something, too, have been done with Europa and the bull?
But all these notions occur too late. Christmas is at hand, and the libretto of our pantomirae-ia/fef, which we had entitled "Harlequin Prize Ox, or Columbine and her Calf of Gold," is not even begun.
Thb Handel Festival Choib commenced its operations Friday night week by a rehearsal of Mozart's Twelfth Maw. We cannot fancy the work to have been well chosen for the purpose. It Is nil in vain, we suppose, but we cannot help putting in a word for Cherubim's Requiem, which (the Dies Iree, perhaps, excepted) is finely adapted to a mass of voices with only the organ.—AOtenceum.
The Edinburgh Musical Association, according to the Evening Courant, last week gave a very excellent performance of Mendelssohn's music to a Midsummer Night's Dretim, at the Music Hall, Edinburgh. The play was recited by Miss Aifkcn, of Glasgow. The performance, however, did not prove attractive, whereupon the journalist thus denounces the public for their lack of taste:— "The attendance was very poor. If the conjunction of such names as Shakspeare and Mondelssohn could not draw out an audience, we daresay that Orpheus himself, if a reality and alive, would have found in Edinburgh his skill and 'occupation gone.' It seems that people must blacken their faces, and deal in buffoonery, to enlist the interest and patronage of our enlightened and art-loving population !"—A correspondent, dating from Manchester, sends us the following chatty letter anent the doings of the touring party com posed of Mesdames Louisa Vinning and Baxter, MM. Tennant and Allan Irving, Herr Becker, &c, &c, which has been lately rapidly and successfully coursing the provinces:—" What a blessing for sinners as well as singers thnt the Lord's day comes once a week, and that the said day is not an exclusive luxury. Here we are once more in Manchester, with nearly two-thirds of our tour over, and still some twelve or fourteen concerts yet on hand. I don't know how it is, but the weeks and days on tours appear to me to have unusual length, at all events, our day is often a precious long one, a matter of seventeen hours, consequently the night on musical tours has only seven hours, a fact I nave yet failed to see noticed in almanacks. It is also curious to note the perfect league that exists between the different hotels as to food. Twenty-eight establishments have I put up at, and never yet finished my dinner without an apple tart. Only imagine the whole twenty-eight to appear fresh and lively in a row before one some fine night! and as there are fifteen or sixteen more concerts, one has a sad look-out for the same number of the now detested pastry. Wonderful to relate, on this tour we have not only managed to get on right well with the public, but also—a far more difficult thing to do—with each other. Our ladies, Mad. Vinning and Mad. Laura Baxter— the latter singing for Miss Poole—have done wonders. I think Mad. Vinnings voice singularly improved since her marriage (not always the case), and her singing of the 'first violet' regularly brings down the public. Mad. Laura Baxter, although singing under a disadvantage (Miss Poole having been the lady engaged), makes matters all right with the public the moment tliey hear her really fine voice. 'Che faro' and ' Fanciulle che il core' are sure cards every night. Air. Allan Irving and Mr. Tennant make up the rest of the vocal quartet, and do their best. Last, though not least, comes Herr Becker, who, I need hardly assure you, has made a grand success wherever he has performed, always playing genuine music, without resort to clap-trap of any kind. At Birmingham, the night of the day on which his accident took place, although quite blind and suffering tortures, the impression he made was positively enormous. He was recalled three times. I am delighted to hear through your columns that he is better. Mr. Chatterton (harp) and Herr Bohrer (piano) have joined the troup. There has been something to do since the tour commenced. Two concerts at the Crystal Palace, one at Chatham, Croydon, Leicester, Nottingham (engaged by the Robin Hood Rifles), Lincoln, Hull, Stockton, Edinburgh, Glasgow (with an audience of 3,500 to listen to music they would not have done ten years ago), Sunderland, Redditch (so called from the quantity of blood shed in the neighbourhood by one Cromwell, now celebrated for its needles, pins, and fish-hooks), Kidderminster, Leamington, Birmingham, Shrewsbury (where the party sang a local ode, with local orchestra, in honour of certain Wenlock games), Manchester, Worcester, Ashton-under-Lyne (with an hotel quite a caution to future tourists), Lancaster, Blackburn, and, last night, Manchester again. The rest of the tour will be taken out in Ireland, at Cork, Dublin, Armagh, and Belfast. Then Glasgow, Carlisle, and Newcastle, which will finish their peregrinations.
From the Malvern News we glean the following account of the new organ just completed for Manchester Cathedral:—
Mr. Nicholson, of Worcester, has just completed a new and magnificent organ for Manchester Cathedral, the construction of which is carried out in a manner that more than sustains the reputation of the
builder. The instrument is complete, and Mr. Nicholson has introduced a great many new inventions and mechanical contrivances, which are much desired by organists, and render it, as it was pronounced by Mr. Hayncs, the most perfect instrument he had ever touched. It comprises upwards of forty stops, with three manuals, and gives to the organist full scope and power over the instrument. Among other additions there is a great improvement in the pneumatic lever, which makes it repeat as distinctly as the notes of the pianoforte. The plan of the pedal organ is quite new, and makes it easy to the organist to play upon. Instead of the pedals being flat on the surface and arranged in a straight line as the manuals, they are made concave and radiated, thus adapting themselves to the position of the performer, as the pedals will meet his feet as he is required to turn upon his sent. The diapason and reed stops are very fine, and the choir organ is particularly brilliant from its sweetness and purity of tone, the solo flute in the choir organ being as fine a one as we have heard. On Saturday lost a large number of admirers of organ music and the (lite of the neighbourhood assembled at Sir. Nicholson's manufactory, in Worcester, to hear the instrument. The company numbered upw ards of 100, and amongst those present were Canon Wood, Revs. K. Sarjeant, T. L. Wheeler, B. B. Fowler, K. Cattley, J. II. Wilding, Temple, Atkins (Ombersley); W. P. Price, Esq. (a great admirer of organs, who came specially from Gloucester to hear the instrument), J. W. Isaac, Esq., — Osborne, Esq., &c., &c. The programme, the performance of which by Mr. Hayncs, organist of the Priory Church, Malvern, brought out the many beautiful qualities of the instrument with admirable effect, was selected as follows:—Grand Organ Sonata in A major, Mendelssohn; Andante, 1st Symphony, Haydn j "Cnjus Aniroam," "Stabat Mater," Rossini; grand fantasia, "Russian Hymn," Frcyer; Benedictus and Gloria, "Twelfth Mass," Mozart; fugue, in A minor, Bach; Andante, Symphony in C, Mozart; grand fantasia, "Partant pour la Syrie," pedal obligato, W. Haynes. The pieces most admired were " Stabat Mater," the Benedictus, and the fugue. Universal admiration was expressed at the brilliancy and purity of tone of the instrument. Wc are pleased to find that the rev the vicar, in his arduous task of promoting the restoration of the fine old Priory Church, has not forgotten the organ; and we are informed that he has given orders to Mr. Nicholson to rebuild the entire organ in the Abbey, and to make several valuable additions, from specifications furnished by Mr. Haynes.
One of our Irish correspondents sends the following communication from Armaqii, bearing date December 17, which we print entire:—
"A very excellent morning concert was given here on Thursday last, by Mr. Allan Irving's touring p.irty, consisting of Mad. Louisa Vinning, Mile. Laura Baxter, Mr. Tennant, Mr. Allan Irving, Herr Bohrer, and Mr. Frederick Chattcrton ; in addition to which we had Mr. Thackeray, a very good tenor, who has lately joined our cathedral choir, and Mr. George B Allen. Mad. Vinning's sympathetic voice told effectively in a room well adapted for sound; and Mad. Baxter's fine deep notes came out most powerfully. Both ladies received much applause, and were encored in several pieces. Mr. Tennant was encored in Blumenthal's ballad, "We are parted," which honour, however, he declined; and Mr. Irving's chaste interpretation of Salaman's song, "I arise from dreams of thee," was highly appreciated by the audience. Mr. Thackeray sang "Sweet form, that on my dreamy gaze," from Lttrline—a. song, by the way, that few tenors would like to attack in the morning, its pitch being so very high—and proved himself equal to it. Herr Bohrer's playing of Liszt's grand fantasia on aira in Le Prophete was very fine, and established him as a first-class pianist. Mr. Frederic Chattcrton gave two of his own effective solos in his own brilliant style, one of which was encored and was repeated, the audience not being disposed to let him off with merely a bow as they did tho singers. Mr. Allen and Herr Bohrer alternately accompanied the vocal music in a musician like manner ; and, altogether, the concert gave great satisfaction to a most aristocratic audience, among which we observed the Countess of Erne, Lord and Lady Cricbton, Lady Molineaux, Lady Caroline Burgess, the Dean of Armagh, Mrs. and Miss Disnoy, Major Caulfield, Mr. and Mrs. Vcrucr, and a host of other fashionables."
From the same correspondent wc have received a letter respecting a concert given by the same party at Belfast, dated the day foflowing which we also publish in extenso ;—
"Mr. Allan Irving's party gave two concerts here last week with great success, as far as excellency of performance went, but not as regards audience. The fact is we are all here members of some society, and wc go to our own concerts, but we object to all others from principle This is very absurd but it is quite true j and it is but fair that touring parties of artists should be made acquainted with the fact. Our town is fast expanding, and we may hope in the course of a few years to see it outgrow the miserable petty jealousies which now exist between the musical societies to the detriment of all, and what is far worse—to the positive injury of art. A proof of the latter is not wanting. When Mad. Novello was about to pay us her farewell visit, it was proposed that each of the two leading societies—tHe Anacreontic and the Classical Harmonists—should engage her and party for one concert, so that this great singer should be heard in some great sacred work with band and chorus at one place, and in secular music at the other, and thus all tastes would have been satisfied; but, in consequence of a niggardly spirit shown, this admirable arrangement was prevented, and those who loved sacred music were obliged to hear such songs as those in the Messiali and Creation sung to a pianoforte accompaniment, or not at all.—But to return to Mr. Irving's concerts. The programme contained many pieces from the new works, Robin Hood, Undine, Lurl'me, &c, and the concerts were most agreeable ones and gave mnch pleasure to-those who were fortunate enough to be present"
The Musical Union of Birmingham keeps up the character of its programme with fastidious care. At the last concert the following first-rate selection was given :—
Quartet No. 3, (Op. 18) Beethoven. Song, "The Orphan" Blumenthol. Solo, pianoforte. Heller. Quartet No. 2, in E flat, Mozart. Solo, violoncello, Piatti. Song, "When the thorn," Weber. Second Grand Trio (Op. 66), Mendelssohn.
The executants were Miss Armstrong (vocalist), Messrs. H. and G. Hayward (violins), Mr. R. Blagrove (viola), Signor Piatti (violoncello), and Messrs. Duchemin and Flavell (piano). The string quartet of Beethoven, a lengthy, elaborate, and beautiful work, but scarcely comparable as a whole to some other quartets of the same master introduced at former meetings, opened the proceedings. "In speaking of its performance, by Messrs. H. and G. Hayward, R. Blagrove, and Signor Piatti," writes the Birmingham Journal," criticism becomes almost a task of supererogation. Whether as regarded the conception or the execution, the precision of the individual artists, or the unity of the whole, the performance was equally irreproachable, and even the accidental flaws to which human instruments in human finders are ever liable, so few and unobtrusive as to excite the astonishment of every intelligent observer." Some remarks on Signor Piatti's playing, by the same writer, are worth quoting: "Signor Piatti's playing is characterised b^great ease and fluency, and his tone by equal sweetness and power. He never seeks to dazzle but is content to delight, and evokes the sentiment of admiration more by the absence of all apparent effort in producing the most brilliant results than by the acrobatic dexterity which constitutes so remarkable a feature in the performance of other great violoncellists, especially of the famous Bottesini. With the same apparently limited expenditure of muscular effort he can produce the round, liquid tones of the flute, and the deep sonorous pealing harmonics of the organ, while in the more florid passages his roulades almost equal in case, fluency, and emotional character the vocal execution of a brilliant songstress." Miss Armstrong, the vocalist, appears to have pleased more by her sweet voice and concert style, than her force or expression.
At Leeds Handel's oratorio Samson was chosen for performance by the Leeds Town Hall Concert Society, at their last Saturday evening's concert, and was under the patronage of the Mayor (J. Kitson, Esq.), and the Corporation. The solo vocalists engaged were—Miss Helena Walker (soprano), Miss Crosland (contralto), Mr. John Morgan (tenor), and Mr. Weiss (basso). The chorus was composed of the Madrigal Society's Concert Choir, and the band was that of the West Riding Orchestral Union, led by Mr. Haddock. Mr. Spark presided at the organ, and Mr. Jackson, of Bradford, officiated ns the conductor.
Dr. Mark And ms Little Men, who are engaged by Mr. Mitchell, will make their first appearance in London early in January, at the large room, St. James's Hall, and will give a Bhort series of their highly attractive Concerts.
Berlin.—An intended performance of La Traviatn, in Berlin, has been forbidden by the authorities on the ground that the libretto is unfit for the ears of a Protestant city; seeing that this drama in its original form of La Dame aux Camelias has been frequently performed on the stage there, this official interference is somewhat curious and inconsistent.;
Monday Popular Concerts.—The sixth concert proved by far the most attractive of this season, St. James's Hall being crammed to such an extent as to make standing room a matter of difficulty. Independently of the excellence of the selection, which included compositions of Beethoven, Mendelssohn, Haydn, Dussek, Macfarren, &c, there were other causes to account for the enormous attendance, the names of Miss Arabella Goddard, Mr. Sims Reeves, and Mr. Weiss no doubt exercising their influence, to say nothing of this^being the last concert before Christmas, a month, indeed, elapsing ere the Monday Popular Concerts can be resumed. The quartets, Mendelssohn's in E minor (Op. 44), and Beethoven's in A (Op. 18), have already more than once been introduced at these entertainments; while Steibelt's sonata in £ flat, for pianoforte solus (dedicated to Mad. Bonaparte), and Haydn's in F major, for pianoforte and violin (adapted from one of his string quartets), were heard for the first time. The pianoforte sonata of Steibelt was thoroughly welcome as a genial and interesting novelty, if not altogether,to be compared with many of those forming the extensive repertoire with which, thanks to the Monday Popular Concerts, the public are now familiar. Perhaps no small share of the applause it created may be attributed to the unsurpassable performance of Miss Arabella Goddard, who made her first appearance this season, and was received with that genuine heartiness only accorded to special favourites, and unanimously recalled at the conclusion of the sonata. As a second sonata from the same pen (and in the same key) is hinted at, we may possibly have another opportunity of judging of a composer who has been undeservedly neglected of recent years. Without pretending (as some insist) to very marked individuality *, Steibelt'i music seems to possess (does possess) a certain (an absolutely) graceful and even flow, which must satisfy, if it does not precisely entrance (Jiow often is that the case?) the hearer; and we doubt not it will improve upon acquaintance^ In the duet the honours were shared with M. Sainton, who, Frenchman though he be, shows himself thoroughly cosmopolitan in capability, and in every instance rendering the most ample justice to his composer, being alike at home in all and every school of music. Particularly noticeable was M. Sainton's playing in the quartets we have mentioned, firmness, vigour, and richness of tone characterising it throughout. Messrs. Ries, Schreurs, and Piatti, as usual, took the second violin, viola, and violoncello, and worthily maintained'dieir reputation as executants of the highest class. From this our readers may infer that the whole of the instrumental part was, as it generally is here, little short of perfect. Nor was the vocal selection in any way less admirable. A charming canzonet by Dussek (the third of his that has been revived at the Monday Popular Concerts), "Gentle hope from heaven descending," was given by Mr. Sims Reeves with the utmost delicacy, and is sure to become as great a favourite as the two others that have preceded it. The music is as unaffected as it is charming, and the words, by Mr. John Oxenford, as in the other instances, present a marked improvement upon the original. The "Adelaide," of Beethoven, has fairly exhausted all terms of praise, and Mr. Reeves' singing, sustained by the refined and exquisite accompaniment of Miss Arabella Goddard, was the vocal "gem" of the evening. Tb* audience would not rest satisfied with the eminent tenor's bowing his acknowledgments, but persisted in an encore, to which Mr. Reeves responded by repeating the last movement, an unwise concession, we think, from one who has lately set his face resolutely against the system so often justly decried as vicious. The Sompnour's song, "The monk within his cell," from Macfarren's very successful opera, Robin Hood, was heard for the first time as it is written, without curtailment, and those who know (and who does not ?) the~magnificent voice Mr. Weiss possesses, can well imagine how completely effective such a song would be in his hands. We hope to hear our great English basso repeat this at a future concert. The pedlar's song from Mendelssohn's Son and Stranger has been so frequently sung by Mr. Weiss that we need do no more than eay that upon this occasion it was rendered with even more than his usual spirit and energy, and commanded the most hearty applause. The concerts will be resumed on January 14th, when M.
* The exact contrary being the truth.—Axouisa, f It has no need of the ordeal.—Ibid,