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expressing themselves, 701. Norwich Fes-

tival, 590. Novello, Madame Clara, 604,

749. Operas and Librettos, 588,604. Opera

Competition and Singers( Revue del Theatres),

414. Opera House, the new one in Paris,

415. Pantagruel, Panurge, &c, 45, 93,

125, 141, 157, 175, 189, 205, 222, 237, 253,

270, 285, 302, 318. Philharmonic Society,

252, 684, 702, 764. Pianoforte Composers

and Pianoforte Music, 509. Piccolomini
Testimonial, The, 254, 272. Punck and the
Technical Terms in Music, 654. Religious
Tinge and Light Literature, 46. Hies,
Schmidt, Marschner, Reissigerjand Kufferath,
526. Robson, Mr. F., 399. Rossini's Se-
miramide at the Paris Opera, 412. Rousseau,
Jean-Jacques, 623. Royal Italian Opera
Prospectus for 1860, 221. Russians at
Home, The, 413. Sacred Harmonic Society,
767. Saturday Review and Le Due Job, 62.
Scotchman, The, 732. Scraps from Abroad,
716. Season of Song, The, 190. Singers'
Salaries, 541. Smith, Mr. E. T., and his
English and Italian Operas, 814. Smith,
Albert, reappearance at the Egyptian Hall,28.
Smith, Albert, Death of, 334. Society forjthe
Encouragement of the Fine Arts, 76,350. So-
ciety for the Relief of Literary Men in Russia,
382. Summer is icumen, 174. The lowest
thing ever done in Music, 110. The Opera in
France, 573. The Sonata, 572. The Art
of Music, 636. The two English Opera
Houses, 637. Theatrical Licenses, 717.
Tomaschek, Worsichek and Berger, 557.
Vienna Opera, The, 781. What has become
of the Ballet, 814. Wright, Mr. Edward,
Death of, 9. Yates (the late Mrs.), 590.

Leeds Musical Festival (for 1861), 592, 610
Liberator and Leveller, The. (Illustrated Times),
627

Lind (Jenny), 636]

Lola-Montez, 483, 505, 546

London Concert Season (Niederrhcinische Mu-

sih-Zeitung), 601

London Glee and Madrigal Union, 82:!

London Royal Yacht Club, The, 111
Longfellow and Mr. G. B. Allen, 531
Lumley, Eliza, 514

Macfarren's Robin Hood, 665, 686, 703,714

Mark, Dr., College of Music, 447

Mathematical Theory of the Minor Scale, 539

Mathews, Mrs., "Friend for the Fireside," 296

Marchesio, the Sisters, 704, 786

Maybe*, Horace, a Letter to, 777, 809
Mendelssohn, A., Letter of, 104
Mendelssohn's, Elijah, at the Crystal Palace,
327

Mendelssohn and Beethoven's Symphony in C

Minor, 329

Meyer, Leopold De, 320

Meyerbeer, 490, 594, 650, 671, 690, 704,
713

Molique's Abraham {Morning Post), 623, 685
Molique, Herr, the Norwich Festival, 762,
769

Mozart (by Otto Jahn), 80, 91,107, 210,225,
359

Mozart (by Otto Jahn) from the Morning Pott
775, 808;

Mozart's Don Giovanni at the Italiens, Paris,
162

Mozart's Impresario, 554

Mozart Child and Man, 112,178,194,258,306,

321, 339, 353, 369. 411

Mozart and Jeliotte the Singer, 329

[Musical Pitch (Alhenaum), 609

'Musical doings in London ( Vienna Recensionen),

553

Music at St. Helliers, Jersey, 515

Music in France (Athenamm), 609

Music in the South Seas (Dtcight), 499

Music in Germany, 610

Musical Festival in Durham, 139

Music and Mystery (Punch), 28

Music and Theatres in Paris, 22, 43,59,72,90,

121, 144, 160, 172, 209, 219, 243, 267, 299,

375, 391, 423, 439, 455, 471, 487, 509, 519,

535, 552, 568, 590, 602, 619, 647, 680, 712,

743, 759, 807

Music at Brussels, 344, 625

Music in Russia, 440

Musical Society of London, 363, 430

Music and Devotion, 465

Music and the Drama at Sydney, 466

Music by Kingsley, 547

My Church, 522

New Arrivals, 335

New|School of Dancing Music (Havdn, Wilson),
777

New Theatre at Leeds, 573

Norfolk and Norwich Musical Festival, 171

461, 507, 538, 554, 562, 575, 615, 631
Nourrit (Adolphe). Letters to F. Hiller, 648
Novello, Madame Clara, 265, 281, 328, 363,

376, 442, 963, 673, 674, 746

Of the Relation and Progression of Chord, 699

Opening of the new Harmonium, Malew, 79

Operatic Music in Germany, 578

Opera at Crystal Palace (Punch), 363

Opera Comique, the History of (le MenestreT),

543, 607, 663, 719, 729, 759

Orpheonists (The French) in London,'155, 272,

386, 400, 415, 416, 335, 443, 450

Organs and Organ Players (Punch), 778

Organ (The) York, 577

Organ (The) by Joseph Regnier, 510,600, 744

Organ and Organists—Churches and Clergy-

men, 491

Organ (The definition and description of the),
407

Organ Reed Stops, 345

Organ at St. Mark's Church, Kerinington, 128

Organ at York Minster, 218

Organ at Godmanchester Parish Church 379

Organ at Manchester Cathedral, 242, 249, 815

Organ at St. Paul's Cathedral, 311

Organ at Mellor Church, 314

Organ at All Saints, Bolton, 314

Organ at Parish Church, Stoke-upon-Trent,314

Organ at St. Michael, Cornhill, 361

Organ at Cottingham, 402

Organ at Brunswick Chapel, 432

Organ at St. Paul's, Dublin, 514

Organ at St. Ignatius, Manchester, 770

Organ for a Chamber, with German and Eng-
lish scales of pedals, 232

Organist Election, Town Hall, Leeds, 78, 273,
335, 363, 433.

Organist Election, St. Mary's, Aldermanbury,
127

Organist Election, Thirsk, 296
Organist Election, Christ Church, Marylebone,
379

Ousely, Sir Gore, in Yorkshire, 104

Paine, Mr. John K, 475

Partant pour la Syrie, 626

Paul, Mr. and Mrs. Howard, Entertainment,
41, 255

Philharmonic Society Meeting, 224.

Phillips, Lovell, Death of, 207
Phillips, Henry, 431
PoETftT:

Address on behalf of the Family of Robert
Brough, 479. A Warning to Lovers. 58.

A Musical Instrument, 459. Albert Smith,
432. Anglo-French Alliance, The, 75.
Blind Fiddler, The, 10. Blind Fiddler,
Death of the, 43. Happy Swallow, 384.
Lines for Music, 496. Love-sick Sol cured
by a Cloud, 168. Marietta Alboni, 384.
Mechanic, The, to his Sweetheart, 560.
Poetry r. Prose, 627. Prologue to The
Enchanted Isle, 480. Parody on "Sweet
love, good night," 618. Trinummus of
Plautus, 818

Provincial :—

Armagh, 815. Barnsbury, 159, Bath, 24.

Belfast, 64, 96, 218, 272, 283, 402, 673, 706,

721. Berkhampstcad, 723. Birkenhead,

160. Birmingham, 11, 65, 219, 257, 339,

Bradford, 632. Brighton, 104,753,782, 801.

Bristol, 24. Bury (Lancashire), 12. Cam-

bridge, 385. Chatham, 283. Colchester, 12.

Cork, 739. Deptford, 654. Dover, 168.

Dublin, 43, 79, 129, 160, 283, 298, 419, 721,

738. Dundee, 105. Durham, 140, 682,

Edinburgh, 25, 129, 170, 187, 218, 815.

Epping, 578. Exeter, 281, 802. Falkirk,

257. '.lasgow, 12. Gloucester, 160, 802.

Grantham, 547. Greenwich, 79. Hor-

bury, 513. Hull, 682. Ipswich, 754.

Kiddermin ter, 235. Leeds, 105, 203, 218,

235, 513, 531, 642, 704, 754. Leicester,79,

203, 683. Liverpool, 48, 128,160,257, 282,

513,619. Maidstone, 129,283,824. Man-

chester, 11, 24, 235, 353, 610, 673,682, 754.

Newcastle, 718. Norwich, 64. Oxford,

170. Peckham, 672, 722. Peterborough,

235. Penrhyn, 769. Plymouth, 546, 704.

Richmond (Surrey), 353. Ryde, 12, 673.
Scarborough, 451, 483. Shrewsbury, 75.
Swansea, 331. Tunbridgc, 25. Wakefield,
64. Windsor, 12, 24, 112,782,783. Wood-
ford, 298. Worcester, 12, 738. York, 129,
546

Poole, Miss, 778
Porpora and Caffarelli, 435
Price's, Captain Morton, Entertainment, 769.
Potter Testimonial, 47, 396, 424
Presentation to Rev. Dr. Miller, Belfast, 611
Professional Singing in Churches, 544, 570
Punch and the new Musical Pitch, 671
Public Exhibition of the "Apollo and Marsyas"
at Milan, 225

Ranoe, Miss Kate, 611
Raphael's " Apollo and Marsyas," 416
Reade and more than Reade, 593 *
Reed's, Mr. and Mrs. German, Entertainment,
363

Reeves, Mr. Sims, 811

Reviews : — A'Beckett, Mrs. Gilbert, 87.

Althaus, B. 167. Allen, G. B„ 344. An-

derson, W. 567. Andrews, Mrs. Holman,

232. Atkins, B. K., 215. Avery, Ellen,

295. Balfe, 3, 55, 88, 151. Barry, C. A.,

311. Beddoe, Alfred, 535. Benedict, Jules,

471. Berger, Emile, 21. Berger, Francesco,

263,567. Boosey's Musical Cabinet, 711.

Borschitzky, J. F., 535. Burckhardt, C, 423.

Calicott, 55. Campana, F., 151. Chater,

W., 119. Chopin, 199. Clark, F. Scotson,

167, 247, 263. Cobham, M., 215. Doran,

Dr., 55. Dussek, 183. Enderssohn, M.,

87. Forbes, G., 215. Gabriel, Virginia, 55.

Gear, Handel, 231. Godefroid, Felix, 21.

Gollmich, A., 247. Grenicr, J. de, 231.

Guernsey, Wellington, 567. Hatton, J. L.,

87, 215, 263. Hauptmann, C. F., 87, 167;

Heller, Stephen, 551, 670, 695. Henniker,

H. F., 247. Hills, W. (Songs of Beet-

hoven) 71. Hoist, M. Von, 311. Hul-

lah's "Singer's Library," 295. Julien's

last Waltz, 305. Kiko, M., 295. Lacy,
Rophino, 232. Lcftwich, H. T., 55.
Linley, G., 231, 535. Loder, E. J. (The
Night Dancers), 727. Loder, E. J„ 151.
Lubech, E., 343. Luders, C, 567. Luti,
W. Meyer, 343. Macfarren, G. A., 167,
232, 695. Malmene, W., 535. M'Ewan,
J , 167. Meyerbeer, 210. Minasi, Antonio,
695. Moore's National Airs, 3, 87. Morgan,
W., 232. Mudie, T. M., 167, 695. Mc
Korkell, C, 344. Noorden, P. Van, 231.
Nordmann, R., 215. Orpheon, The, 87.
Osborne, G. A., 151. Ould, Edwin, 535.
Psalmodia, Simplex et Selecta, 21. Raikes,
279. Randegger, A., 215, 264. lUe, An-
ton, 567. Regondi, Giulip, 167. Richard-
son, J. E., 87. Richards, Brinley, 167, 247.
[tobinson, Joseph, 232, 343. Ross, R„ 87,
343. Rubinstein, A., 247, Sampson, Mrs.,
231. Schlb'sser, A., 344. Schulthes, . Smart,
Henry, 103, 167, 215. Smith, W. Seymour,
167. Sudlow, W., 344. Taylor, Bianchi,
55. Wallace, W. V., Lurline, 135. Walker,
W., 232. Weisbecker, C, 535. Woelfl, 183.

Reltstab, Herr, Funeral of, 803,

Reynolds, Sir Joshua, 547

Ritter, Theodore, at the Philharmonic ( Times),

400

Rome, Philharmonic Society, 824

Rossini and his Imitators, 530

Rossini's Semiramide, by Me>y, 472, .505

Rossini's Last, 667

Royal Society of Musicians. 152

Royal Academy of Music Scholarship, 811

Rubinstein, A., 335, 351

Sacred Harmonic Society Annual Meeting, 64
Sainton, M. and Madame, at Toulouse, 568
Schrccder, Devrient, Death of Madame, 330
Schubert and the " Revivals," 460
Scraps from Abroad, 496
Smith, Albert, 9, 384.
Smith, E. T., and his management, 494
Society for the Encouragement of the Fine

Arts, 5, 283
Some Heresy from a True Believer, 547
Spark, Mr. W., and Sir Gore Ousely*s Testi-
monial, 562
Spohr's Letters, 120, 177, 249
Spohr and the Violin, 811
Spohr, how he learnt the Horn, 162
Spohr, Passages from his Life, 233
Spontini, 527

Stabat Mater, Sedebat Fater^PuncA), 427

Strauss, Herr, the Violinist, 400

Stage and Pulpit, 745

Stanley, Miss E., Entertainment, 703

Strong Prejudice, (Haydn Wilson) 433
Stuntz, J. II., Death of, 456
Sullivan, Arthur Seymour, 434

Testimonial to Mr. A. Finlayson (B-iad-
wood's), 26

The Philosophy of Music (by Joseph God-

dard), 791

The Enterprising Impresario, 777, 792, 808.

823

The Concert Season, 520
The largest Concert Speculator in Brighton,
71S

The Nine o'clock Bell, 498

The Yankee Opera in difficulties, 681

Theatricals at Windsor Castle, 25, 49

Theatricals at Campden House, 169

Theatres :— .

Adelphi.—It's an 111 Wind that Blows Nobody

Good, 382. Family Secret, The, 383. Janet

Pride, 561. Bluebeard, from a new point of

Hue, 828

Astley'f Mazeppa, 577

Bijou Theatre (Her Majesty's.—Amateur Per-
formance, 689. French Playa, 719, 747

Covent Garden.—" Romance," 78. Marriage of
Georgette, 768. Lurline, 127, 641. Bianca,
784. Close of the Season, 190. Dinorah,
672. Crown Diamonds, 687. Trovatore, 688.
Rose of Castille, 719. Night Dancers, 735.
Bluebeard, 828

Dniry Lane.—A Story of the,'45,736. Maritana
(Conductor, Dr. James Pech), 241. Benefit
of the Family of Robert Brough, 489. Mr.
and Mrs. Mathews' Engagement, 688, 769.
Peter Wilkina, 828

Haymarhct.—Love Chase, 688. Lion Slayer,
752. Queen Ladybird, 828

Her Majesty's.—Almina, 273, 287. Barbiere,

320, 383, 392. Don Giovanni, 287, 296,

351, 392, 673. Ernani, 362. Fleur des

Champs, 240. Favorita, 240, 477. Hugue-

nots, 362, 705. Lucia, 392, 477. Lucrczia

Borgia, 273, 287, 338, 687. Matrimonio

Segreto, 410. Marta, 240, 752. Norma,

296. Oberon, 426, 477. Otello, 255, 287

Prova d'un Opera Seria, 392. Rigoletto'

.320,339. Scintilla, 320. Semiramide, 338,'

351. Traviata, 255, 273. Trovatore, 255,
338, 655. Last nights of the Season, 446,
461. Robin Hood, 655, 672, 799. Resume
of the Season (1860), 488. English Opera
Prospectus, 642. Christmas Pantomine, 827

Lyceum—.Pioneers of America, 688. Pets of
the Parterre, 719. Handy Andy, 769. Se-
cret of a Life, 737. Chrystabelle, 828

Olympic.—Uncle Zachary, 382. Savage as a

Bear, 627. Home for a Holiday, 753. Daddy
Hardaore, 799. Timour the Tartar, 828
Princess't..— Garibaldian Excursionists, 752.
Corsican Brothers, 799. Robinson Crusoe.
828

Pavilion.—The Opera Season, 560, 594

Royal Italia* Opera. Barbiere, 297, 337.

Dinorah, 240, 297. Don Giovanni, 321,

337. Favorita, 273, 288. Fidclio, 256,

273. Fra Diavolo, 288. Gazza Ladra,

337, 351. Huguen^ - 362, 411. Lucrezia

Borgia, 427. Martha, 392, 411. Norma,

411. Orfeo e Eurydice, 411, 427. Pro-

phete, 467, 478-. Puritani, 383. Rigoletto,

477. Trovatore, 296. Resume' of the Sea-

son (1860), 504

ft. Jamci's.—La Tenlation, 3S3. Fortunio,

560. Hamlet, 577. Still Waters Run Deep,

752. Smack for Smack, 768. The Loves

of Diana and Endymion, 818

Strand.—The Miller and his Men, 383. Hit

Him, he has no Friends, 627. Did I Dream

It, 752

Theatricals in New York, 562
Theory of Harmonies, by W. W. Parkinson,
408

Thomas, Mr. Harold, 48

Tinney, Death of Mr., 747

Titiens and Alboni in Semiramide, 431

Tonic Sol-fa Association,Letter to Mr. Bowley,

353

Toujours Grisi, 547

i

Uniform Musical Pitch, 529

Unmusical Poets, 363

VandenhofT, Miss, Death of, 531

Viardot, Madame, 431

Vivicr and Alboni, 363

Wagner, Herr Richard, in Paris, 48, 73, 670
Wagner, Herr Richard, Tannhauser, in Vienna,

107, 609

Wagner, Herr Richard, 706

Wallace, W. V., 499, 512

Ward, Lord, v. Lumley, 103

Weiss, Mr. W. H., 811

West Middlesex Rifle Corps, and their band,
111

Whitty, Miss Anna, 496, 810

Worcester Musical Festival, 466, 498, 554,

583, 599, 656

What is Buffo Singing? 386

York Organ, The, 577

Zingarclli, 483.

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'The Woeth Of Art Appears Most Eminest In Music, Since It Bsqctbes No MAtebiAx, No So Bjeci-mAttee, Whose Effect Must

BE DEDUCTED. It IS WHOLLY FOBJt AND ^OWSB, AND IT BAISSB AND ENNOBLES WHATBTEB IT EXPRESSES."—OSthe.

SUBSCRIPTION:—Stamped for Postage, 20s. per annum—Payable in advance, by Cash or Post Office Order,

to B00SEY & SONS, 28, Holies Street, Cavendish Square.

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i THE MOST DISTINOUISHED PATRONAOE OF

MOST GRACIOUS MAJESTY THE QUEEN,

H.R.H. THE PRINCE CONSORT,

THEIR ROYAL HIGHNESSES THE PRINCESSES AND PRINCES OP THE

ROYAL FAMILY,

The Most Worshipful the Grand Master ol Ireland,

• His Grace the DUKE of LEINSTER,

And Several other DUtinffuuhed Freemeuont;

His Excellency the Lord Lieutenant of Ireland, the

EARL of EGLINTON and WINTON,

The LORD BISHOP OF MANCHESTER,

The Right Worshipful the MAYOR OF MANCHESTER,

IVIB MACKIE. Esq.

His Worship the Mayor of Salford, W. HARVEY, Esq.

SIR FREDERICK GORE OUSELEY, Bart., Director of Music at the

University of Oxford.

And many of the Nobility, Gentry, Clergy, and distinguithed,Families of llu Umpire

DR. MARK'S

GREAT NATIONAL ENTERPRISE

Organised in 1848, and developed at THE ROYAL COLLEGE OF MUSIC

BRIDGE STREET, MANCHESTER, established by him expressly as a Great

National Institution to facilitate tho Encouragement and Promotion of NATIVE

MUSICAL TALENT, and the GENERAL ADVANCEMENT OF MUSIC

AMONG THE RISING GENERATION, upon his new and effective system,

also as a NoavAL School for the training of masters to conduct Conservatoires

Of Mcsic to be established throughout the United Kingdom, for Little

Children, the whole comprising an entirely new scheme of NATIONAL

EDUCATION, by blending music with general instruction, so that the study

of mufcic shall become a branch of education in the humblest of scliools of this

country. To illustrate and to rouse an interest in every town and city for these

institutions, Dr. Mark travels with a number of his pupils occasionally through

the country—giving lectures, and introducing his highly approved and pleasing

Musical Entertainment, entitled DR. MARK AND HIS LITTLE MEN, who

number upwards of Thirty Instrumentalists, and a most Efficiont Chorus, the

whole forming a most unique and complete Juvenile Orchestra, composed of

LITTLE ENGLISH, IRI8H. SCOTCH AND WELCH BOYS. FROM FIVE TO

SIXTEEN YEARS OF AGE, who play Operatic Selections, Solos, Marches,

Quadrilles, Galops. Ac, and sing Songs and Choruses in a most effective manner,

and to whom Dr. Mark gives a gratuitous General and Musical Education.

APPOINTMENTS OP MASTERS AND ARRANGEMENTS OF CLA8SES IN

THE ABOVE INSTITUTION.

Principal of the Royal College of Music; Director, Composer, and \

i Conductor; Lecturer to both Private and Public, Theoretical >Dr. Mark.

and Practical Instrumental and Vocal Classes )

Master of the General Educational Department :\ M p w

Writing, Reading, Arithmetic, Grammar, Dictation, I and Two

History, Geography, Practical Geometry, and Book- j A8aistant Xeaohors

keeping .. )

PRACTICAL ASSISTANT TEACHERS.

Organ Mr. Baker.

«—«• {Msr

TM» jsrtsr*

Violoncello, Double Bass, and Viol. { %TM ^"fT"

Flute, Piooolo, Oboe, and Clarionet 8lg. Cortesi.

Cornet and other Brass Instruments Mr. H. Russell.

Concertina (German and English) Mr Elder.

Vocal Claases { ^^2Si2*

Dr. Mark has also made provision for the Orphans of the Musical Profession

possessing musical talent, who will find the above institution a happy home, and

receive a moat effective general and musical education, board, and clothing, free

of all expense.

Little Boys, from five to niuo years of age, apprenticed for three, five, or seven

Tears by paying a moderate entrance fee to cover tho exponses of instrument and

books.

Twelve appointments ready for Masters.

For Prospectuses, apply direct to tho Royal College of Music, Bridge-street,

Manchester.

Dr. Mark Is also open to Engagements with his Little Men.

Dr. MARK begs to invite the Parents and Friends, and all those interested in

hla Enterprise aud in the Education of the Youths of this country to vtatt his

•"-at. Visiting hours:—From Nine to Eleven, o,m., and Two and

Saturdays and Sundays excepted.

GLEES AND MADRIGALS.—EGYPTIAN HALL,

PICCADILLY, (DUDLEY GALLERY). Change of Programme Mr.

Mitchell baa the pleasure to announce, that the Entertainment of Glees, Madrigals,
and Old English Ditties, by the London Glee and Madrigal Union, under the
direction of Mr. Land, interspersed with illustrative remarks by T. Oliphant, Esq.,
having been received with distinguished favour and approbation, will be continued
every evening during the ensuing week, at half-past eight; and on Monday,
Wednesday, and Friday rnornings, at half-past two. Reserved seats. 3s.: un-
reserved, 2s. A few fauteuils, 5s. each, which may be secured at Mr. Mitchell's
Royal Library, 83, Old Bond-street, W.

MISS DOLBY begs to announce that she will give
TWO SOIREES MUSICALES at her own residence. No. 2, Hinde-street,
Manchester-square, on the following evenings:—Tuesday, Jan. 10, and Tuesday,
Jan. 31, to commence at half-past eight precisely. The following Artists will
have the honour of appearing at the first soiree:—Miss Freath, M. Sainton, M.
Bezeth, Mr. Doyle, Mr. Paque, and Miss Dolby. Accompanyist, Mr. Randegger.
Tickets for the two soirees, 15s.; single tickets, 10s. 6d.t to be had only of Miss
Dolby, at her residence.

WANTED, immediately, a Pupil in a Musical Establish-
ment, where ho will have an opportunity of acquiring a thorough
knowledge of the profession in all its branches. Apply to Heir Winzer,
Newcastle, BUffordshire.

"rpHE ARION" (Mght-Part-Choir).—The members of

X this Society will meet until further notice every Thursday evening, at

81 o'clock, at 18, Berners-street, Oxford-street, Conductor, Mr. ALFRED

GILBERT.

F. F. REILLY, Hon. Sec.

Persons desirous of joining the choir aro requested to address the Secretary.

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TJSICAL DIRECTORY, REGISTER & ALMANAC

FOR 1800.—Contents: Almanac with musical data; list of musical

societies throughout tho kingdom; musical transactions of tho past year; names
and addresses of professors, music-sellers and instrument makers;

music published between tho 30th November, 1858.

and list ot
... and 30th November, 1869.
Price Is. <Jd. ; per post, Is. 8d. Publishers: Rudall. Rose, Carte and Co., 20,
Charing Cross, S.W.; and Keith, Prowso and Co., 48, Cheapside, E.C.

THE BAY OF DUBLIN QUADRILLES, on Irish
Melodies by Wellington Guernsey, as performed by the bands of the Cold-
stream Guards, Royal Artillery, 4c, has become one of the most popular of tho
day. Price 3s. Beware of spurious imitations. London: Brewer and Co.

ROYAL ACADEMY OF MUSIC—The Lent Term
commences on Monday, January 16th, 1860. Candidates for
must attend at the institution on Saturday the 14th of January, at 1 o'clock.

By order of the Committeo of Management-
Royal Academy of Music, J. GIMBON,
Hanover-equare,
31st, 1850.

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REVIEWS.

"Christmas comes but once a year"—a jovial song—words by John Oxenford, Esq., music by M. W. Balfe. (Boosey and Sons).—A right "merrie carol," most appropriately designated a "jovial song," written in good homely vernacular of the olden stamp, with an exhilarating burthen at the end that might have been indited in the days of Queen Bess. The wordsare full of "Christmas," as the reader will own when he has devoured them with the same relish as ourselves: Christmas comes but once a year,

Thus our fathers rung;
With their noisy, jovial cheer

Vaulted ceilings rung.
Boar's head and wassail bowl,

And loving mistletoe,
JoyM the hearty Briton's soul 1

In winters long ago.
Christmas comes but once a year,
Hang the holly tree;
Thus our grandfather's sung,
When England was yonng,
And so sing we!
Wassail bowls no longer flow,

Bristly boars have fled,
Still the loving mistletoo
Dangles over head.
Deeply our fathers quafTd,
When daintily we sip;
But like them we hail the draught

From beauty's rosy lip. Christmas comes but once a year, • Hang the holly tree;

Thus our grandfathers sung,
When old England was young.
And so sing we!
Christmas comes but once a year.

Brief his joyous reign!
Shall we all assemble here,

When he comes again?
Some rise while others fall,

As moments swiftly flow,
Yet a living thing to all

Will be the mistletoe! Christmas comes but once a year, Hang the holly tree! Thus our grandfathers sung, When old England was young, And so sing we!" By such suggestive lyrics could Mr. Balfe fail to be inspired? The melody, in fact, smacks of the mistletoe and holly, and is as merry as a " Cricket on the Hearth." The whole song is a perfect "Christmas Carol."

"Moore's National Airs," with symphonies and accompaniments for the pianoforte, edited by Charles William Glover—No. 8. (Addison, Hollier, and Lucas.)

The present number of this edition (the "People's ") contains twelve songs, two or three of which, it will be seen, attained great popularity in their day. The set comprises "Those Evening Bells," "When Love was a Child," "See the dawn from Heav'n is breaking," "Oh! come to me when daylight sets," "Oh 1 days of youth and joy long clouded," "Who'll buy my Love-knots," "Farewell, Theresa," "Bring the bright garlands hither," "Go now, and dream o'er that joy in thy slumbers," "When thro' the Pia*etta," ■ Oh, no! not even when first we loVd," and "The Bashful Lover." The work will be completed in ten numbers, so that the purchaser, for ten shillings, will become possessor of the entire collection of "Moore's National Melodies," which, if inferior in point of interest and merit to the "Irish Melodies," are at all events deserving of a place in every lady's Canterbury.

HANDEL'S "HERCULES."

(Edition of the German Handel Society, II. 1.*) When, last spring, the day came round on which, one hundred years previously, George Frederick Handel died, all classes of the German nation were penetrated with anxious fears as to the fate the future might have in store for them. Not that, on this account, they were forgetful of the debt of gratitude they owed the great master ;—that they were not, the statue now erected in his native town of Halle bears witness—or that the day was passed over without being duly celebrated. No! from oountless throats resounded those tunes which he has bequeathed, like some rich legacy, to us. But men's spirits were bad, their attention was distracted, and the festive sounds, as a necessary consequence, died away only half heard. We have not yet made the legacy, left us by Handel, so entirely our own as to know how to extract from it the utmost profit in every phase of life;—as to know how to derive from it the purest, noblest enjoyment in days of calm, as well as manly strength, combined with confidence, whatever may turn up, at periods of painful uncertainty.

Meanwhile, though, the project of publishing all Handel's creations, and thus naturalising them in the hearts of the people, has progressed bravely. The latter numbers of the work published by the Handel Society have proved beyond a doubt that the future of this worthy monument is assured. On the publication of the first volume, containing the oratorio of Susanna, a practised pen directed public attention to the importance of the undertaking as a whole, and threw out some hints for the conception and rendering of the above work, previously quite unknown to us. The other works for the first year were:—a volume of pianoforte music, part of which was already known in Germany, through an edition published by Peters, Leipsic, and the public performances of artists of repute; and, in addition to this, the pastoral of Acis and Galatea, into which Chrysander enters at length, at the end of the first volume of his Biography of Handel.

A third oratorical work—Hercules was issued, as the first instalment of the series for the second year, a few weeks since. There is hardly any other so well calculated to gain fresh ground for Handel's genius. If we look around the circle of those works of Handel, which are more or less known, we shall find none immediately near which, on account of the mere subject, this powerful Hercules can be placed. This fact affords a proof of the master's boldness, while the manner in which a subject so foreign to our usual train of thoughts is inspired with musical life, and made evident to us, serves the more to dissipate both prejudice and ignorance, and to establish the universal character of Handel's art. The work treats of the return of Hercules to his home, from the destruction of (Echalia, of his wretched end, through Dejanira's jealousy, and of his exaltation into the blessed sphere of the gods. The author of the text—according to the short remarks affixed by Chrysander to the score— a clergyman of the name of Thomas Broughton, found, iu the Trachinice of Sophocles, a classical model for his task, which, from its nature, requires to be treated with reverential devotion. He had, however, evidently so identified himself with this antique subject that, in his hands, the figures of the heroic world were moulded into a new ensemble, perfectly in keeping with the requirements of the story, and, at the same time, adapted in a manner hardly to be surpassed to the purposes of the composer. If, on the one hand,. the merit of the author appears less great than it otherwise would, because he drew his inspiration from a source which furnished him with more than the mere subject, it must, on the other hand, gain considerably in our eyes, when we remember the numerous versions with which we have been favoured of classical models for so-called musical purposes. There is a natural means of satisfying every want, and that musical art which, from its want of character, has lost the art of musical characterisation, would scarcely dare to complain—and, indeed, would never seriously do so—of the barren infertility of the sister

* From the Siederrheinische Musik-Zeitting.

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