I lov'd dear Mar

When I was in my teens, garita. and continued to the end with the same attractive naïveté accompanied with studied simplicity, and allied to words of the true ballad calibre-the whole, too, esssentially singable-can hardly fail to be effective, and to charm all ears, no matter of what dimensions, and reach all hearts, from the softest to the least easily penetrable. Such is Margarita," the most recent inspiration of the composer of The Bohemian Girl and Satanella-such the song with which Mr. Sims Reeves is now enchanting his fellow-countrymen and countrywomen in all parts of "merrie England."

MUSICAL SOCIETY OF LONDON.

THE Annual Meeting of the Fellows and Associates of this rapidly rising Society was held, at the Marylebone Institution, on Wednesday the 1st. On this occasion, Mr. Joseph Duggan, Mr. Edward James, and Mr. John Simon, were elected on the Council to fill the vacancies occasioned by the retirement of Herr Molique, Mr. Lodge Ellerton, and Sir John Harrington; and Mr. Sainton, Mr. Verrinder, Mr. Barker, and Mr. Stockdale were elected fellows. The report of the Council, which was read to the meeting, gave a gratifying account of the remarkable prosperity of the Society, showing the number of its members to amount to 1,450, and the funds in the hands of the treasurer greatly to exceed £1,300. The same document spoke of the eminent success with the members and in public esteem, of the series of four concerts given last season, and it justly ascribed this success in a great measure to the admirable orchestra and the excellent conducting of Mr. Alfred Mellon; it spoke of the distinguishing feature of these concerts, as compared with the serial performances of every other musical establishment in the metropolis, showing this to have been the inclusion in each of the programmes of one or more works of resident English or foreign composers, and leaving the impression that this feature of the arrangements was another chief ground of the good opinion the series had universally elicited. The report promised another series of four concerts, on the scale of those of last year, for the ensuing season; and in addition to these, a fifth concert, at which music not written for the orchestra is to be performed, and singers and instrumentalists whose talent could not be brought forward on the other occasions, are to be engaged. The report spoke of the weekly choral practice of the members, conducted by Mr. Henry Smart, as a flourishing and highly valuable branch

of the Society's operations; some 200 ladies and gentlemen have formed themselves into a class for mutual pleasure and improvement, whose ranks are open to the entire body of fellows and associates, and their progress in part-singing proves the good influence of their skilful training upon their general musical capacity. It is important to notice that their excellent conductor exercises his talents in this department gratuitously. The choral practice has, it seems, been made opportune for the trial of some hitherto unheard compositions of the members of the Society; and this branch of the proceedings of the institution is to chamber-music. The conversaziones held in May and January last, at be extended by the establishment of trials of new instrumental St. James's Hall, were referred to with just satisfaction, as having been occasions for promoting the social intercourse of the members, and thus bringing into agreeable and beneficial personal relationship those who follow music as a calling with those who seek it as a recreation, and, it may well be presumed, stimulating a still better feeling between them, and a yet greater mutual sympathy than even now exists. Fellows' Meeting, in November, the Council addressed, on the part of The report continued, that, in fulfilment of a resolution passed at the the Society, a letter of condolence to the widow of the illustrious Spohr, on the death of the great musician, who was one of the honorary acknowledgment of their communication.

members of the Musical Society, and they reported that lady's courteous

Thus far the report may be regarded as referring individually to the members of the Society, insomuch as their personal interests are in. volved in its proceedings. Another matter, however, was communinent importance to the musical art, and, possibly, an incident of lasting cated in this statistical document, which, as it might have been of emiconsequence in the Art's history, shows the wide view taken by the Council of the range of the Society's operations, and the zeal they have exercised to extend these beyond the limits of its immediate advantage. The report stated that the Council of the Musical Society had endeavoured to procure for the world the removal of the prohibition against the performance and publication of some of the works of Mendelssohn, which the brother of the master, taking unwarrantable advantage of his sole possession of these invaluable legacies to mankind, thinks fit to impose. The efforts of the Council were fruitless. M. Paul Mendelssohn dallied with them for many months ; and, after thus long wavering between he would and he would not, finally decided to continue to withhold these great art-treasures, assigning for thus arbitrarily depriving us of what we justly inherit from a man of genius-the enjoyment of his creations-some domestic reasons which the Council deem improper for production to the meeting of their constituents. It was urgently pressed, even by some members of the of the measures of M. Paul Mendelssohn, and to desire to allow him Council who appeared to think less unfavourably than their coadjutors at least the justice of making known his assumed motives for these, that the entire correspondence between the Council and this gentleman should be read, and thus the views, however unsatisfactory, be made known, which induce the possessors to withhold the compositions from the public. A majority of the meeting decided that the arguments employed by the Council to prevail upon M. Paul Mendelssohn to remove his arbitrary restriction, the cause of this gentleman's vacillation, and the grounds, whatever they might be, for his final determination, should not be revealed, thus showing an indifference to the highly important subject utterly inexplicable in a body of musicians, and leaving a stigma on the family of Mendelssohn, which, it is not unreason. able to suppose, their own words might in some degree have tended to remove. The unconcern of the meeting may be interpreted as tacitly expressing, first, a vote of censure upon the Council for having interfered in a matter in which, as the executive of the Musical Society, they were unauthorised to act; second, an acknowledgment that the family of Mendelssohn were believed to have reasons for the suppression of the works of their immortal relative, which would not bear to be made generally known; third, that the musicians of London, as represented by the thousand and a half of them who constitute the members of the Musical Society, arc carelessly apathetic to the best interests of the art it should be their duty to uphold, being indifferent to the works of a great master, and regardless of his reputation. From this last point of view, the meeting may be considered as having publicly signified that the only objects of the Musical Society are, to give concerts on more or less the same scale as the two Philharmonics, respectively, of Mr. Anderson and Dr. Wylde; to have trials of unheard compositions on a greatly smaller scale than the British Musicians'; to support a singing-class, more numerous but less efficient than Mr. Henry Leslie's or the Polyhymnia, less elementary than Mr. Hullah's, and greatly inferior in extent to the Handel Festival choir; and, finally, to give leviathan tea-parties in St. James's Hall, at which the rankness of

FEBRUARY 11, 1860.]

the butter and the meagreness of the beverage appeared to have been the chief subjects of comment; but to strive for the welfare of music by endeavouring to increase the store of rich treasures which are open to its lovers, was implied to be beyond the limits of the Society's operations.

It was advanced by an eminent barrister, who was at the meeting, that the heirs of an immortal genius have as distinct a legal right in the spiritual effects of their deceased relative, as in his substantial personal estate: in a word, that the fact of possessing the fruit of a dead man's imagination, gives a living as over the shilling legatee as much authority over the same himself has honestly earned, which he holds in his own pocket-the right to spend it, or to put it out to interest, to give it, or to throw it away, to husband or to squander it, to melt it down, or, if possible, to annihilate it. Such the meeting was advised is the law, and thus interpreting the law, M. Paul Mendelssohn represents a spiritual Shylock, who insists upon worse than his pound of flesh cut from the bosom of his bondsman, insists upon self-appropriating, for reasons which his correspondents fail to divulge, the product of his brother's inspiration, and thus robbing him of a portion of his deathless reputation. Since such is the law, and since no doctor from Belmont steps forward to turn back its power upon him who would arbitrarily enforce it, the world must bow to its provisions, and can hope at most that the correspondence of the Council of the Musical Society have laid Mr. Mendelssohn's uninvestigable motives under more suspicion than they really deserve.

Let us now turn to consider how fatal would have been the workings of this law, which deals with men's thoughts as with their goods and chattels, their wearing apparel, their bank-stock and their railway shares-how fatal would have been its workings had it always been enforced as severely by musician's executors, as it is alleged that the administrators of Mendelssohn have the authority to enforce it. The two quartets of Beethoven, in F and in A minor, two of the most remarkable, in some respects the most beautiful, and in many respects the most interesting of all its composer's wonderful creations, were first printed subsequently to the death of the author, and thus might have been arbitrarily suppressed at the lawful discretion of his executors. The twelve symphonies of Mozart, which were first printed some ten years since, inconsiderable though they be, as compared with some other works of the master, yet eminently interesting on account of their intrinsic merit, and on account of the illustration they afford of the composer's various and prolific powers-these might have been withheld from the world by the heirs of his executors. All the choruses in Messiah, and the entire oratorio of Israel in Egypt, were unprinted when Handel died, and were thus at the mercy of those persons who had the care of his property and of his fame. We need adduce no further instances to prove how far beyond estimation would music have been impoverished, how incalculably would the world have lost had M. Paul Mendelssohn's course, with regard to his brother works, been anticipated by the persons into whose hands devolved the care of the

treasures we have named.

CRYSTAL PALACE.

THE first concert of the season was given on Saturday last, and the new music-hall was opened for the first time. Now the new music-hall is not new at all. It is the old concert-room, of the same length, breadth, and shape, and altered as to the roof only. And here alone, indeed, was the alteration necessitated. The old roof, or more properly covering, was merely a piece of cloth or canvas suspended above the galleries, which did not prevent the escape of the sound, and absorbed what reached it. The new roof is constructed of thin boards lined with canvas, and is arched lengthways from the platform. No sound can now escape from the concert-room, and, the roof acting as a sounding board, every note is heard. The orchestra, we fancy, has been made smaller; but whether this is for the better, or otherwise, time will show. The performances on Saturday enabled us to ascertain beyond a doubt the great acoustic however, it will gain but few admirers, as far as the appearance improvement effected by the alteration. In its present state, is concerned. The plain boarding alone was visible on Saturday, but the painters would soon be at work, and ornamentation, no doubt, would not be spared.

The programme was excellent. The orchestral pieces were, Beethoven's No. 7 Symphony, Overture by F. Ries, Overture to Faust (second part), by H. H. Pierson, and Leopold de Meyer's "Marche Tromphale d' Isly," arranged for band by M. Hector Berlioz. The band also accompanied Mdlle. Marie Wieck in Mendelssohn's G minor concerto. The symphony was well played throughout under M. Manns' direction, and every possible care and attention was paid to Mr. Pierson's overture, which, however, failed to convey the slightest glimpse of meanThe aim of the composer has eviing to any who heard it. dently been ambitious, since the instrumentation is elaborate and complicated in the extreme, and, in all probability, the conception of the writer was profoundly metaphysical. But music that may not be understood is about of as much use as "music that may not be heard ;" and, at all events, we shall not certain, such music will not do for the audiences of the Crystal pretend to criticise what we could not make out. One thing is Palace. The overture to Faust was performed by the Crystal Palace band last season, without creating any sensation but that of utter incomprehensibility. It does not improve on Mdlle. Marie Wieck played the quaintance. hacknied, though splendid concerto of Mendelssohn, with much facility and neatness of execution. The last movement was not

ac

somewhat

that Giuglini is performing at the Scala at Milan. He began in the Favorita.

The Turks seem to be giving themselves a shake, and rousing themselves to the knowledge that music is a very high and sublime enjoyment, for it appears that his imperial highness the Sultan wishes to get a more intimate knowledge of the music of Verdi, and the Sicilian Vespers of that composer is to be performed in Constantinople under the title of Giovanna di Guzman.

W. A. MOZART.

BY OTTO JAHN.-(FOURTH PART.)
(From the Niederrheinische Musik-Zeitung.)
(Continued from page 81.)

"Two essential advantages were gained. By this sharp juxtaposition of the developed melodies, the musical phrase, the merely effectuating turn, the simple playing with figures, for the purpose of getting on, was excluded, or, at any rate, greatly circumscribed. Such expedients are comparatively very rare with Mozart. He mostly uses figures and passages as ornaments twining around and adorning a definite and solid kernel, but not constituting independent members of the whole. When, too, mere formula of transition appear indispensable, he employs them mostly without much ado, just as in architecture the pillar is applied as an artistic motive in such a fashion that its constructional importance is clearly apparent. To this head we must refer the emphatic and broad treatment of the finales, and half finales, which are now so striking that they appear to many people as specific a peculiarity of Mozart's style; they are, however, no such thing; they were, at that period, general, and proceeded from the necessity of being maintained fixedly and definitely in the key, a necessity on which, at that time, especial stress was laid. That composers have become freer in this respect, and learnt to introduce varied, charming, and exciting transitional turns instead of a plump common-place, is an undoubted advance; but that, notwithstanding, Mozart is not deficient in delicate and interesting turns, anyone may convince himself by observing his returns to the theme in the second part, and, for instance, merely the richness to which the simple fundamental force of the point d'orgue, is developed, in the most beautiful and most charming modes of appliance.

"The second advantage was the comprehensive clearness of the plan of a musical movement, a clearness which is as intelligible as in an architectural ground-plan, and which, both in great and little things, is one of the unalienable excellences of Mozart's art. By means of this, the principal points of a thoroughly developed organisation were fixed. These, necessary in themselves and sufficient for the object in view, could in their turn become the points of support for a rich and copious amplification, and before such a detailed and thorough development was possible, it was necessary that the simple scheme should be clearly and securely fixed.

"Mozart has in no wise exhausted the substance of the form of representation thus founded by him; others have merely imitated what he did. Beethoven entered on the intellectual inheritance, and has shown what depth and fulness there lay concealed in it; but whatever astonishing results he may have obtained, all the germs are far from being developed. Our own age, whose invention and skill are preponderatingly apparent in interesting and delicate forms of transition, and in a consistent spinning-out of small motives, which can lay claim only to a subordinate place in a great whole, is, above all things, to be reminded of the fact, that well-developed, firmly articulated melodies, should constitute the fundamental elements of a composition.

"In the choice and arrangement of them, so that the one shall set forth the other in the most varied manner, is Mozart's delicate feeling invariably evident. He has the skill more particularly, in some part of the work where we least expect it, to surprise us by a new melody of peculiar beauty, as for instance, immediately after the first theme, which generally causes a certain satisfaction, a completely different motive is introduced. But, above all, he produces an inimitable effect by bringing forward,

when everything is tending rapidly to the end, a melody decked out with all the charms of freshness and sweetness, and which not only again excites our interest, but gives a new turn to the whole. To adduce a striking example of this, and one known to every one, I would remind the reader of the first movement of the symphony in C major. Who has not, with ever-reviving astonish ment, been entranced by the melody introduced at the last, and which, like a gleaming meteor, darts forth a flood of light and gaiety? Similar effects, if not always so brilliant, are by no means rare; they have never been equalled, and, indeed, scarcely attempted by anyone else. On the other hand, it cannot be denied that the partiality evinced by Mozart for placing in a strong light the conclusion and some other points, not generally so prominent, injured the second theme properly so called; and which is usually the weakest portion. The cause of this is partly, perhaps, attributable to the fact that, in opposition to the principal theme, it was intended to have a more tender and lighter character; but, compared with the other motives, it is frequently not important enough, and even sometimes produces the impression that it is neglected.

"The further extension of the fundamental scheme thus obtained could not be effected by the interpolation of mere outwardly connecting phrases between the principal members, but by the development of their purport by means of thematic treatment. We have seen above how, by the study of Bach and Handel, Mozart was guided to this course, and this tendency is very decided in later pianoforte compositions. It does not appear, however, as the return to the metrical style (gebundene Schreibart) in certain strict forms, as of the canon and the fugue, but as the free development of those general laws, on which the essential attributes of polyphonic representation and contrapuntal form depend generally. Instrumental and most especially pianoforte music, after it had been freed from the shackles of strict form, was in danger of following one-sidedly the direction of homophonic representation, and thus of becoming shallow. It is one of the services rendered by Mozart that, in the modifications, which the altered character of the conceptions and representation generally, and the nature of the instruments required, he did justice to the polyphonic and thematic mode of treatment in free and beautiful forms. This is apparent, as is natural, more especially in the modulating portions, on which the principal weights necessarily fell, and which, by this treatment, could first obtain due importance. Although Mozart did not bestow on them that extension and powerful elaboration to which they were developed by Beethoven, they yet appear in his works-even when, scantily elaborated, they are still presented as a transition-as the culminating point of the whole movement, on which its motive powers are concentrated in more lively activity. The mode of treatment is free, like the choice of motives brought into play; but it is nearly always essentially a thematic course of treatment, and frequently one very skilfully planned out and intricate, on which the effect depends. Still, at the same time, the harmonic element is by no means thrown into the back-ground-as is wellknown, it is here that the boldest and most original modulations are usually found; on a closer observation, however, we shall find that the really vivifying element is the thematising element, and that the fashioning impulses proceed from this quarter. Thus, there is developed movements full of life, and, if we have not always an overpowering catastrophe, a knot is tied, and we are anxious to see it untied, which it always is, with agreeable certainty and ease.

"The slow movement is, as a rule, founded on the song (das Lied); it is consequently, according to its first plan, frequently bipartite, but the plan has only exceptionably been developed with the breadth and richness which have become usual in the first movement; the single or manifold repetition of the fundamental theme, which, in conformity with the custom at that time, did not often occur without ornament and decoration, easily led to a treatment in the fashion of variations. In every case, the first requisite was the invention of a melodious movement, important both in substance and form, which should not be appreciated simply as a motive through the treatment, or from connection with others, but which, of itself,

afforded a full and satisfactory expression for sentiment. It has already been hoticed (I., p. 557) how the tendency, followed by the feeling of the time, favoured the development of exactly such movements, which undoubtedly must be classed among the most beautiful creations even of Mozart. These simple and impressive melodies, beautifully articulated and steadily carried out, which die away, as in a long full breath, redolent of warm deep feeling, without sentimental weakness, appear to be a happy inheritance of that period, which produced likewise the purest strains of our lyric poetry. In the repose by which they are mostly pervaded, the pleasure and satisfaction of artistic creation are superseded in an uncommon manner; in the unlaboured and easy way also in which, by a partial working out of the fundamental thoughts, by variations of the latter, by freely introduced and often contrasting under parts, these monuments are built up, without departing from the fundamental tone of feeling first laid down, we perceive how naturally and freely this mode of expression forced its way through the musical sentiment and soared to such a height. Without entering here into the details of the working-out, we may still direct attention to the delicacy and grace with which Mozart, in this case also, understood how to prepare and bring about the conclusion, so as to lead the hearer up to it with a continuous feeling of perfect satisfaction."

No chief of an administration is more provident than Mr. Robert Bowley, General Manager of the Crystal Palace, Sydenham-none more vigilant and progressive. He is indeed the very Argus and Briareus of that princely establishment. His hundred eyes are always open, impressible to every change in the artistic atmosphere. His hundred hands are ever stretched out ready to grasp, to defend, or to invite. But occasion is not at all times subservient to poor mortal behests; nor is the race always to the swift, nor the battle to the strong. The success of the late Handel Festival Commemoration was triumphant. No one will dispute the fact. But to find a like opportunity for a similar demonstration, it were necessary to await the term of a century. To attend on so long a period would hardly suit the purpose of our manager; neither would it sort with the impatience of the public. Should the magnificent Handel orchestra rest unused all that time? Should the alterations and improvements carried out on so vast a scale, and at so large

an outlay, be turned to no account? Should the expectations raised, and the enthusiasm excited, be permitted to subside? Let no one think it. Something might be originated to allure eager multitudes to the Palace, even though no centenary of Handel's death were available, no half centenary of Mendelssohn's life to act as apology for a jubilee. The almanack might be searched in vain for some renowned composer to lend anniversary of birth or death for a celebration. The dates of the first or last days of Mozart, Haydn, Beethoven, and other grand musicians might not fall in seasonably. Must, therefore, music awake no echoes in the crystal halls? Must the voice of the host be silent, and Mr. Costa no longer lead on his forces to unparalleled achievements. Forbid it enterprise, energy, and speculation.

It is intended that a grand musical exhibition shall come off at the Crystal Palace in June next. This affair will not be apropos of any special occasion or event; neither will it be national or local. No great name will be consulted, nor any particular taste conciliated. Three thousand French choristers, all males, have been invited to come and take part in a festival at Midsummer. That is all we distinctly know at present. Three thousand singers of France, composed of draughts from the most famous choirs in the country, without ladies, are engaged to assist in a great musical solemnity in England. Without being made further acquainted with the details of the proceedings, we may be allowed to speculate on the policy of the undertaking, and the likelihood of its achieving success.

And first, the question naturally arises-are French chorus singers so much better than our own that it is worth while to bring them from all parts of France to sing here? Their superiority as artists established-unless in a very extraordinary degree indeed-would hardly compensate for the loss of the female voices, without the aid of which, for the loss of the female voices, without the aid of which, we have been accustomed to think, grand and striking effects in a choral performance can seldom be attained. Of course we are to conclude that there are male trebles and altos in the different Gallic choirs; and these in certain kinds of ecclesiastical music, more especially that written for the Romish church, make good substitutes for sopranos and contraltos proper. The female voice, notwithstanding, except in rare cases, has been invariably employed by the greatest masters. As a matter of curiosity, the singing of three thousand men and boys, however, can hardly fail to prove attractive; and that the attraction will prove remunerative, and commensurate with expectation, we have little doubt.

4

The next thought that occurs is, what the three thousand are to sing. Without the female voices they must be excluded almost in toto from the great oratorios, unless they take upon themselves to make the men do duty for the women, an innovation by no means desirable. Omitting masses and sundry works composed for the catholic services, we can call to mind no music in which so stupendous a body of male singers could be signally employed, excepting, perhaps, the grand finale to the second act of Guillaume Tell the meeting of the Cantons-which, interpreted by three thousand accomplished male vocalists, might justly be expected to create an extraordinary sensation. This, we confess, would be a treat of the highest order; but even Rossini's colossal choruses would lose something of their effect, if not of their grandeur, by being transplanted to the concert-room. The eye in vain would look for the rush forward of the conspirators and the sudden brandishing of the spears as the infuriated Swiss shouted aloud, “Aux