in insinuating that the whole of our musical talent is concentrated in Tenterden-street, and that no genius exists even so near as Hanover-square! Now, although music has made great advancement in England during the last few years, we cannot yet bear the comparison with foreign writers. And allowing that the Royal Academy of Music may have produced some clever pupils, all that Indicator" advances is not to be taken for granted. He sets up a number of deities to worship, known only in the musical religion of himself and Mr. Potter, such as Mr. Jewson, the author of the celebrated overture to Killicrankie--(I presume the word is Hebrew!)-Mr. Mudie, the author of something else, whom he announces is about to deprive the profession (I say the profession, because the public never heard of him) of his genius-Mr. Sterndale Bennett and others, all of whom he states to be infinitely superior writers to Kalliwoda, Lobe, Lindpaintner, Lachner and Reissiger, whom he coolly pronounces to be a "veritable set of humbugs!" Messrs. Killicrankie, Mudie, Gibbins, Buggens, Snodger, and Bumpus, may all be very great men, and superior to Kalliwoda, Lobe, Lindpaintner, Lachner, and Reissiger, but no one happens to know anything about them at a distance of five yards from the Royal Academy of Music, while the others are renowned all over Germany! He gives it as his opinion, that if the works of these illustrious men were submitted to Mr. Potter (forsooth!) that gentleman would make "great havoc amongst them." This leads us to an inquiry who Mr. Potter is, that to him should be awarded the distinction of deciding upon the merits of the best composers of Europe? What has Mr. Potter done to entitle him to the schooling of such men as Lindpaintner and Lachner? Surely this is out-Heroding Herod! Let the honest truth be spoken-Mr. Potter is an industrious, liberal, and kindhearted man (and no doubt a most tender husband and affectionate father), a very sound musician, and a particularly indifferent composer! And as to Mr. Potter being able to "make sad havoc " with Lachner, Lindpaintner, and Reissiger, I should as soon believe that Killicrankie, Mudie, or even "Indicator" himself, could do it.

You perceive I have taken "Indicator's "hint; and, since he likes plain speaking, I shall continue.

His praise of Mr. Sterndale Bennett and the pupils of the Royal Academy of Music amounts to the ridiculous. He says (very elegantly, by the way), speaking of Liszt, Thalberg, Czerny, and others, that "Bennett could swallow them all." A pretty meal it would be, I am thinking: after such musical diet, I should say he would be (like Polyphemus) for singing

"Bring me an hundred reeds of decent growth
To make a pipe for my CAPACIOUS MOUTH!"

However great Mr. Bennett's swallow may be (and it must be wide indeed to admit of "Indicator's fulsome flattery), the world will never be made to gulp it down. "Indicator" is evidently a great friend to Mr. Bennett, and patron to the pupils of the Academy; and he goes upon a system, not of writing them up, but actually of trying vi et armis to persuade the public, in spite of common sense, that they are all tried, acknowledged, and celebrated men, while he unblushingly declares, in the face of every thing human and divine, that, with the exception of Spohr and Mendelssohn, the foreign composers are a set of dunces. This reminds me of a dispute which arose between a respectable inn-keeper and two beggars in rags, in explanation of which, to a fourth person, one of the tatterdemalions says, this gentleman (meaning the other beggar) has been grossly insulted by that person.' I really should not be surprised if "Indicator" were to declare Miss Edwards (of the Academy, of course) infinitely superior to Malibran or Persiani! He must excuse me, but all this comes of speaking one's mind: I do it, as you see, Mr. Editor, very humbly, and without the use of compound Latin, Greek, and Anglo-Persic words. I am content if you and your subscribers can understand me, which is not always the case with some of your correspondents.

I am quite as patriotic as "Indicator" can possibly be; I admire the talents of Mr. Bennett, as a young man very likely, with modest industry, to become eminent; if such of his friends as "Indicator" will not spoil him by persuading him he is so already. I think the Royal Academy of Musicians has produced, and still produces, young people of promise. Killicrankie is all very well, and Mudie know only by sight, but will take it for granted he is also very clever; in short, both in and out of the Academy there is a great deal of talent in England, but-(oh, why will "Indicator" make comparisons which, as Dogberry says, are odorous ")-but, I repeat, that with only one or two exceptions, our talent is as inferior to the talent on the continent - not forgetting such names as Rossini, Auber, Meyerbeer, Halevy, and Berlioz-as our National Gallery is to the Louvre. I am sir, your's truly, SPECTATOR.

P.S Since writing the above I have read, in the "Musical World," a subsequent

letter from "Indicator," in which he awards some praise to Messrs. Bishop, Barnett, Balfe, Loder, &c., but still gives the palm to the Royal Academy of Music.

To the Editor of the Musical World.

SIR-AS I have been rather severely handled by some of your correspondents, I hope you will allow me to say a word in my own defence; and I come forward to do so with less reluctance than I otherwise should, in the hope that my remarks may fairly represent, for the benefit of professional musicians, the opinions of a large body of their supporters— the amateurs These latter have long felt, and very strongly, that themselves, and their opinions especially, have been treated by professors with marked scorn and contempt, which conduct arises partly from conceit, and very much from ignorant impertinence. As an instance of this, take a member of one of our largest orchestras, notorious alike for his impudent assurance and his inability to play Corelli or a quartett; I mention no names, but whomsoever "the cap fits," let him put it on. I cannot help fancying that mere performers arrogate to themselves a position in society to which they are by no means entitled, and that, when introduced at a gentleman's table, few (there are some) know even the plainest rules of good breeding Musicians! to what class of people do you address your exertions? You pretend to have ambition and a thirst for fame ;-do you desire the praise of an indiscriminating public who pay their way into a theatre or concert-room for fashion's sake, and invariably applaud in the wrong place? Do you wish for the opinions of your brethren professors-men loaded with spite, prejudice, and ignorance, who with all their knowledge and all their conceit laughed-aye, laughed at Beethoven for a fool and a madman? If they praise you, will they pay you?-No, it is a well-known fact that a professor pays for nothing in the shape of a musical performance. Those only who will praise or condemn without positive ignorance, or positive prejudice and spite, and who do support you with their purses as well as their voices, are the amateurs-1 --those whom you treat with such ridicule.

I should perhaps have said that Bennett and Macfarren were the only two known musicians capable of writing an opera. Barnett is capable of writing half an opera, that is, every movement, though perhaps of good invention, is done only half as well as it might be. Of course I must be ignorant of the hidden Beethovens, Mozarts, and Webers with which your correspondents fancy this country to abound. I sincerely hope they may be right; nothing has yet been published by these concealed luminaries, although something superior to Fidelio and Euryanthe may be at this moment in the hands of the printer. "Indicator" says that Bishop should not be judged by his Guy Mannering; I readily grant that Mr. Bishop can compose far superior music to this (as indeed, who cannot ?). But if he chooses to blast his reputation as a musician by bartering it for money, he must be content to receive the obloquy; it is, moreover, a base fraud on the public to insinuate a disavowal of music to which a composer's name is affixed.

An instrumental quartett is a fair test of genius. Perhaps you, Mr. Editor, can tell me if one has ever been published by either Bishop, Barnett, Balfe, Rooke, or Loder. I deduce from this that an opera is a much more facile undertaking than a quartett. Will these gentlemen offer us a quartett each which shall surpass those of Beethoven, Mozart, Weber, Spohr, Haydn, Mendelssohn, Krommer, Fesca, Kalliwoda, Lindpaintner, Reissiger, or Molique ?—I am, sir, your humble servant,

A LOVER OF MUSIC.

To the Editor of the Musical World.

SIR-I am glad to find that the subject of the possibility of forming a national school of music has again become a theme for discussion in the pages of your journal, and I. trust that in their remarks on this matter, your correspondents will abstain from all interested views, and that your paper may not be made a vehicle for puffing the claims of the various composers mentioned in your last, all of whom, excepting Bishop, having, in my humble opinion, shown that it is not in them to redeem our national music from the contempt with which it is regarded by foreigners. I would have excepted Mr. Rooke, had his name been enumerated with those of Messrs. Barnett, Loder, Mudie, &c. &c., as he is the only living Englishman, with the exception of Bishop, who has written an opera which I would care to hear a third time. Without attributing to his Amilie a high degree of excellence, it is impossible to deny that it contains music marked by melody and a certain freshness which tells that is the product of the author's brain, and not the dry result of a course of study of the German masters.

But there can be little doubt but that much talent of a higher order than that mani

66

fested by Mr. Rooke exists in this country, were it called into play, or rather, were it not studiously put out of sight by the persons who have, in some way, or other, had the address to make themselves heard and known. Have not the theatres been closed against all new English operas, excepting those of Balfe, Barnett, Loder, and some of the others quoted in your last? Have not patient audiences yawned over the Mountain Sylph in vain, having persuaded themselves, for the honour of the English school," that it was very fine? Did not Mr. Arnold's management totter under the superincumbent weight of this, the most ponderous of sylphs! All would not do; English audiences having paid their five or their seven shillings for admittance, require that the music they listen to should be formed with something of life, and melody, and originality: let them have this, and English composers will have no right to complain that English talent is neglected. In order to find such attraction, it will be necessary that real talent (and real talent there is in the country) should be rescued from neglect, and I maintain that it is discouraged by the jealousy of successful professors-by successful I would be understood to mean those persons who have gained a position on the more elevated ground of musical reputation, and who would prevent others from rising to a higher place.

One of your correspondents suggests that government should put a higher duty on foreign music, in order to make music-sellers purchase the works of Englishmen. This reminds one of the Emperor of Austria's plan to improve the wine of the country, which was consumed at Venice; this he attempted to do by putting so high a duty upon foreign wine as amounted nearly to a prohibition; and in the mean time he nearly poisoned his subjects.

To conclude, I firmly believe that there is such talent to be found in England as would suffice to produce operas which might please audiences familiar with the works of Spohr and Weber, but in order to find it, much impartiality is due on the part of managers, and a liberal and fair spirit on the part of artists and professors.-Yours,

ARISTIDES.

To the Editor of the Musical World.

SIR-As I am of opinion that the patronage of royalty, if it can be obtained, would be a decided advantage to a National Opera, and as I am not aware that any English musician has an opportunity of proposing the subject in the royal presence, I would suggest that a petition be drawn up and signed by all who are interested about the matter, praying that her Majesty, and H. RH. Prince Albert will grant their patronage to an institution so truly national. Should this petition, when presented in the usual way prove successful, let a committee of professors be appointed who may choose from their number a treasurer and secretary to conduct the ordinary business of the institution: when the amount of subscription is deemed sufficient, the establishment might then commence operations. Country professors might sign this petition by proxy, and it should lie either at the office of the "Musical World," or one of the principal music-shops. Similar petitions may be at the same time got up in the principal provincial towns, and by this experiment we shall find out how much we have to expect from royal favour. I think with you that a smaller theatre than Drury-lane or Covent-garden would not answer for bringing out operas on that scale which would be creditable to a national establishment; nay, were it possible, the performance of opera at this theatre should be superior to any other in London. I would call your readers attention to a letter which appeared in the " Musical World," of June 25th, on foreign music, signed " A composer of Music." In conclusion, I beg to state that although living at a great distance from London, I have ever taken a lively interest in the establishment of a National Opera, as my having persevered for two years in writing letters at intervals on the subject will show, and although at the time the project-even to myselfappeared Quixotic, I determined not to leave the field until some more worthy champion Now, their name is legion, and I can only wonder in what enchanter's castle so many doughty heroes "spell-bound slept "-their ladye love-National Opera I meandegraded to the state of a kitchen-wench.-I am, sir, your obedient servant,

arose.

S. V.

To the Editor of the Musical World.

SIR-Allow me to disclaim against the very unfair and unreasonable letter of your correspondent, "A Lover of Music." In his opinion Bennett and Macfarren are the only living Englishmen capable of writing an opera. I am much surprised that you do not enter your editorial protest against the puffing system of foisting these two young men forward to the prejudice of a man like Barnett, the writer of the first English opera of classical pretensions. Now Bennett and Macfarren are doubtless first-rate instrumental

writers.

The former has not even written an opera, and I maintain that he cannot himself know of what he is capable until he has tried, and that it is rather unreasonable to suppose a "Lover of Music " can know for him. The latter, it is true, has done some. thing for the theatre, but the Devil's Opera has been much over-rated by the public, and is certainly inferior to the Farinelli or Mountain Sylph of Barnett let Bennett try his hand operatically, and he may find it a more difficult task than his admirers would make it appear. There are some talented musicians, Henry Smart, L. Phillips, and Lucas, for instance, who have written operas, and on that account have a greater claim to consideration than he.

:

To conclude, in the dogmatical phraseology of your correspondent, and to put the most charitable construction on his letter, a "Lover of Music" is, in my opinion, no judge of music.-Your's, &c. JUSTITIA.

MUSICAL INTELLIGENCE.

METROPOLITAN.

MR. HORACE CASTELLI AND MR. SEDLATZEK (the former son of the valuable artist lately deceased) had a concert for their benefit on Monday, the 29th inst., at the Marylebone Institution, and were assisted by a host of stars, including Signori Rubini, Tamburini, Brizzi, Ricciardi, Lablache, F. Lablache, with Mesdames Persiani, Ernesta Grisi, Tosi, De Goni, Alban Croft, cum multis aliis. The most effective performances were "Fra nembi crudele," by Rubini, which was encored; a scena from Inez de Castro, by Persiani; the duett, Un segreto," by the Lablaches; and Rossini's “ Marinari," duet by Rubini and Tamburini. M. Henri Herz played his new fantasia from the Elisir d'Amore, and the entertainment concluded with Martini's laughing trio, " Vadasi via di quà," than which nothing could be better devised to dismiss an audience in good-humour. If well sung, it is impossible to resist the cachinnatory infection.

66

THE VETERAN CRAMER gave one of the best concerts of the season at the Hanover-square Rooms, on Friday last. The principal attraction was, of course, the touch of glorious John himself, and we have never heard more beautiful playing, or witnessed more enthusiasm in an audience. He performed his own concerto in D minor (the slow movement being encored), Mozart's quintett in E flat, for piano and wind instruments, and the andante and rondo in C minor by himself and Mozart. If the true standard in pianoforte-playing be not mere activity, but the power of touching the feelings and affording gratification to all who can appreciate music, properly so called, then is Cramer a greater player than any of the modern thunderers. When two hands are found to be doing the work of four, we do but stare and wonder; the utility of the proceeding would be obvious if it were an object to economise labour: there is, however, no paucity of executans, but a glut in the market. Another vice in modern play is the attempt to extract from the piano greater effects than its nature admits of, and failure is inevitable when it is taxed to represent a full orchestra. Still it may be doubted whether the professors of the old school paid sufficient attention to that which is the great characteristic of the modern—viz., a perfect freedom and flexibility of wrist, which is only to be acquired in early life. There is no earthly reason why this faculty should not be compatible with the most accurate legato playing. Herz and Handel are wide as the poles asunder, and few indeed are the examples among amateurs of excellence in both departments: the cause may be traced to defects in early training, and an exclusive devotion to one style only. The other performances may be briefly noticed. The band gave Beethoven's overture to Fidelio splendidly; and the second part introduced a touch of old Corelli with some marvellous bowing by old Drago. "Oh, guardate," by Mrs. Toulmin and Mr. Parry was a very melancholy affair. Sir G. Smart, in tones of deep and soul- moving despondency announced the inability of Mr. Machin to sing the "Wanderer." Misses Birch and Hawes gave a very pretty duett by Bishop, entitled "Meet again ;" and Miss Bruce undertook Cherubini's "Ave Maria," which should be the specialité of Miss Woodyatt alone. Au reste, Miss Masson gave us reminiscences of Pasta, and Mrs. Toulmin " Jyohnned and Jyoed us until we wished ourselves over head and ears in a horse-pond.

Mdlle. d'Espourrin and Mdlle. König's MATINEE MUSICALE took place at the Hanover-square Rooms on the 25th ult., and we must apologize for not having given an earlier notice of it. We are, however, happy to award to the two beneficiaires the praise their respective performances deserved; Mdlle. d'Espourrin's excellent and impressive style, and the beautiful tone she draws from the harp, entitle her to be considered as one of the best harpistes of this metropolis: both her performances were justly admired, and obtained the applause they so much merited. Mdlle. König is a clever vocalist, and acquitted herself of her task to the satisfaction of her hearers. The other remarkable features of the concert were Mme. Dorus Gras' most effective singing of Burgmuller's aria; Mr. Litolff's brilliant and powerful performance on the pianoforte; and Mr. Blagrove's admirable solo on the violin. The beneficiares, as may be seen from the talent engaged, proved they were deserving of the very distinguished patronage with which their concert was honoured.

ROYAL ACADEMY.-The third subscription concert, on the 27th ult., was attended by a numerous and brilliant company. The most striking piece was theBattle Symphony by Lord Burghersh, which forms the introduction to his Eroe di Lancastro," and abounds in effective points. Two military bands are employed besides the regular orchestra, and play each a march illustrative of the arrival of the armies about to contend. The battle then joins with "gun, trumpet, blunderbuss, and thunder," and terminates of course in the defeat of one party, the "loss of shine" being well described by a repetition of the march of the vanquished in the minor key. There are, moreover, some solo vocal parts, which were well given by Miss Dolby. Among the other performances we may notice in terms of cordial approbation Miss Lear's "Se m'abbandoni ;" the "Wanderer," by Miss Steele; and "Stanca di più," by Miss Cole (no novelties, at all events); besides Mr. Noble's clever execution of a very difficult concerto by Chopin, a Polish composer of great fame on the continent.

SIGNOR BONETTI AND MR. SCHEPENS gave a concert on Monday at Tavistock House, the residence of R. O. Gordon, Esq.; the personnel consisting of Mesdames E. Grisi, Ostergaard, Parigiani, Alban Croft, &c., with Messrs. Arnaud, Sola, Coletti, Ricciardi, and the beneficiaires. Certain pieces were set down in the programme, but they were changed ad libitum, and our patience was soon exhausted by the hopeless mediocrity of the performances. We would seriously recommend Mdlle. Ernesta Grisi to retire awhile from public life and practise the gamut.

PROVINCIAL.

[This department of the Musical World is compiled and abridged from the provincial press, and from the letters of our country correspondents. The editors of the M. W. are, therefore, not responsible for any matter of opinion it may contain, beyond what their editorial signature is appended to.]

LIVERPOOL. The Liverpool Festival Choral Society gave their eighth public performance at the Music-hall, Bold-street, on the 30th ult. The scheme presented the whole of Haydn's sublime oratorio the Creation The orchestra was crowded in the vocal department, but the band was not sufficiently strong and full for the great weight of the choruses, and the want of an organ to assist the instrumentation was much felt in certain parts of the performances, especially where the swell was occasionally required. The society, we believe, professes to be only a choral society-that is, it was instituted for the improvement of chorus singing-and the proficiency which its members have acquired reflects the highest credit upon their talents, industry, attention, and acquirements; but many of the solos were executed in a very sweet and perfect style, and elicited unqualified commendation; and, generally speaking, the instrumentalists entitled themselves to the same meed of praise. The band was ably led by Mr. Elliott, and Mr. G. Holden conducted the vocal performances with great spirit and decision. The oratorio, on the whole, was exceedingly well given, and we think we should be perfectly justified in saying that it was the best and most accurate performance of the kind we have heard in Liverpool. The overture went off with a smartness and effect which we could scarcely have anticipated, even though we had previously noticed in the orchestra several of our most accomplished amateurs. The recitative, by Mr. Davies, "In the beginning," the chorus, "And the spirit of God," and the air, by Mr. Stott, "Now vanish," were well sung. the accompaniment to the recitative, Outrageous storms," the band was a little unsteady.

66

In