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JUST PUBLISHED, PRICE 3s. Gd.,
Mi .*u: r.v
London: DUNCAN DAVISON & CO., 244 Regent Street, W. I NAVIGANTI (The Mariners).
BY ALBERTO RANDEGGBR.
"VTEW TRIO, for Soprano, Tenor, and Bass, Price 4s.
IN (With English and Italian words.)
"In the composition of this unaffected and graceful trio (which is inscribed to those excellent professors of the vocal art, Sig. and Mad. Ferrari), Mr. Randegger has shown not only the melodic gift, and the knowledge of how to write effectively for voices, but a thorough proficiency in the art of combination, and, as it were, a dramatic spirit, which might win favour for an opera from his pen. Each voice (tenor, bass and soprano), in the order in which they enter, has an effective solo, followed by an ensemble (or * tutti ') for the three voices in the major key (the trio begins in L' minor), the whole terminating with a coda, * sotto voce,' the effect of which, if smoothly rendered by three good singers, must be as charming as it is new. The more of such 'terxettinos' the better."— Musical World.
London: DUNCAN DAVIDSON & CO., 244 Regent Street, W.
Just Published, price 3s.
NEW ITALIAN SONG, "Parvemi il volo Scioglere."
Just Published, price 3s.
MISS STABBACH'S NEW SONG,
"Miss Stabdach sunn "The Morning Ride " with great idol, it being admirably suited to her voice. The song itself possesses great merit. In its composition it is pleasing, lively, in the idea fresh. A continual now of melody running throughout, and the delicacy with which it is wrought, mark this song as a favourite. The words by Claribel, which are sparkling, light and gay, hare been wedded to music of endearing sweetness."— Dorset Chronicle,
London: Duncan Davison & Co., 244 Regent Street, W.
NS W EDITION.
THE VOICE AND SINGING
(THE FORMATION AND CULTIVATION OF THE VOICE FOR SINGING),
By ADOLFO FERRARL
"The chief value of this excellent treatise on the art and practice of singing is in the elaborate chapter upon the formation and cultivation of the voice, which precedes the practical exercises. Signor Ferrari alleges that "every one who can speak may sing," and he discusses this fact not only with great intelligence but with excellent common sense. As a teacher of long and varied experience he speaks with authority, and the rules he lays down for the development of the vocal organs may be consulted with advantage by all students of the art of singing. His book, in short, labours to overcome the two leading difficulties which beset the scholar, via., the production of the natural or real tone of the voice, and the proper management of the breath."— Observer.
London: Published, price 12s., by
AIRS, BALLADS, &C. IN THE OPERETTA
"ONCE TOO OFTEN N."
COMPOSED BY HOWARD GLOVER.
"THE SOLEMN WORDS HIS LIPS HAVE SPOKEN."
Grand Air. Sung by Mile. Jennt Baub
"THE LOVE YOU'VE SLIGHTED." Ballad, Sung by
Mile Jenntt Batjr "STRATAGEM IS WOMAN'S POWER."' Ballad'.'Sung
by Miss Emma Hetwood
"LOVE IS A GENTLE THING." Ballad. Sung by
Miss Emma Hetwood
"A YOUNG AND ARTLESS MAIDEN." Romance.
Sung by Herr Reichardt
"THERE'S TRUTH IN WOMAN STILL." Romance.
Sung by Herr Reichardt
"THE MONKS WERE JOLLY BOYS." Ballad.
by Herr Formes
"IN MY CHATEAU OF POMPERNIK. Aria Buffa.
Sung by Herr Formes
QUADRILLES AND WALTZES.
"Fontainblcau Quadrille," by Carl Strauss
"La Belle Blanche Waltze," ditto
In the Press.
Brinley Richards' Fantasia, or, "Once too Often."
"Mr. Glover's operetta is a decided, and, what is better, a legitimate, 'hit.' The songs before us have already attained a well-merited popularity. 4 The monks were jolly boys 'U as racy as the best of the old Englbh ditties, harmonised with equal quafntness and skill, and thoroughly well suited to the voice of Herr Formes. 'The love you've slighted still is true' (for Mile. Jenny Baur) has a melody of charming freshness. Not less a model ballad in its way is 'A young and artless maiden ' (for Herr Reichardt), which sets out with an elegantly melodious nhrasc. Perhaps more to our liking, however, than any of the foregoing, excellent ana genuine as they are, is 'Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils. We shall look with real interest for the remaining pieces of * Once too often.' —Musical World.
London: DUNCAN DAVIDSON & CO., 244 Regent Street, W. "fTIHOSE TELL-TALE EYES," and "COME, DEAR
A ONE, BACK TO ME." Music by James Lea Summers. Price it. 6d each. "Both these songs have the charm so welcome to all who really care for art, of being written with taste and correctness. The melodies, too, while natural and unpretending, are decidedly expressive."—MualCAL World.
Duncan Davison & Co., 244 Regent Street, W.
THE LILY OF KILLARNEY,
A ROMANTIC OPERA,
DION BOUCICAULT AND JOHN OXENFORD,
THE OPERA COMPLETE, BOUND IN CLOTH, 258..
4 0 SONG—A bachelor's life. (Hardress) DUET — The moon has rais'd the lamp abore. (Hardress
and Danny Mann) • • • • • 2 6 SONG - The above arranged as a song . - . 20 SONG – It is a charming girl I love. (Myles). In B flat
and in A - • • - • • SONG – In my wild mountain valley. (Eily). In D minor and in C minor .
. . . 2 6 SONG, with CHORUS, ad lib. — The Cruiskeen Lawn .26
АСТ II. CHORUS- The Hunting Chorus . . . . 3 6 AIR and DUET — The eye of love is keen. (Ann Chute
and Hardress) - - - - . - 4 0 SCENA — A lowly peasant girl. (Danny Mann) - . 3 6. ROMANCE (separately) - The Collecn Bawn. (Danny
Mann) - - - - - - • 2 6 BALLAD-- I'm alone. (Eily). In E flat and in C - 2 6 DUET — I gire the best advice. (Eily and Myles) · .40
THE OVERTURE. Arranged by the Author •
Callcott - • • -
Callcott - - - - The FAVOURITE Airs. In two Books. Franz Nava DITTO. As Duets. In two Books. Franz Nava . Set of QUADRILLES. Charles Coote Ditto. As Duets . . . . SxT OF QUADRILLES. " The Cruiskeen Lawn Pierre
Laroche. Illustrated by Brandard . Waltz.“ Eily Mavourneen.” Charles Coote. Illustrated
by Brandard - - -
“ I'm alone”
“ The Cruiskeen Lawn". Kune. Fantasia on favourite Airs ·
, Grand Waltz . . .
2. “The Lullaby" . . . .
ACT III. SONG - The Lullaby. (Myles). In A and in F. - 2 6 TRIO— Blessings on that rev'rend head. (Eily, Myles and
Father Tom.) In D and in D flat - - - 3 0 DUET — Let the mystic orange flowers. (For two equal
voices) • • • • • • • 2 6 BALLAD_Eily Mavourneen. (Hardress). In F and in D 2 6 RONDO FINALE- By sorrow tried severely. (Eily) - 2 6
CHAPPELL & CO., 50 NEW BOND STREET.
Printed by GEORGE ANDREW SPOTTISWOODE, of No. 12 James Street, Buckingham Gate, in the Parish of St. Margaret, in the City of Westminster, at No.8 New-street Square
in the Parish of St. Bride, in the City of London. Published by John BOOSEY, at the Office of BOOsky & Sons, 28 Holles Street, Saturday, March 22, 1862.
'Thb woaTH Of Abt Appears Most Eminent In Music, since It Requires No Material, no Subject-matteB, Whose Effect MUST BE Deducted: It Is Wholly Pobm And Power, And It BAISES AMD Ennobles Whateveb It Expresses"— GSlhe.
STJBSCEIPTION—Stamped for Postage—20s. PER ANNUM Payable in advance by cash or Post-Office Order to B00SEY & SONS, 28 Holies Street, Cavendish Square, London, W.
R. G Y E has the honour to announce that the
OPERA SEASON of 1868 will Commence on TUESDAY, April 8.
SOPRANI B CONTRALTT.
Mademoiselle ADELINA PATTI,
Mademoiselle MARIE BATTU,
Signor DELLE SEDIE,
Uia First Appearance in England.
Signor C A P P 0 N I,
R. GEORGE HOGARTH, Secretary to the Philharmonic Society, begs to announce that he has Removed to No. I Bloomsbury .Square, W.C.
Director of the Music, Composer, and Conductor, Mr. COSTA.
The Prospectus, with full particulars, may be obtained on application at the Box Office, and at the Principal Musicsellers and Librarians.
WANTED, in a West End MUSIC ESTABLISH-
TO ORGANISTS FOR SALE, a very Superior ROSEWOOD COTTAGE PIANOFORTE, 61 Octaves, with 2 Octaves and a third of Pedals, from C to E; by Gray & Davison. Price £30. Can be used either with or without Pedals. The Instrument is a very superior one, and nearly new Original cost, «4a.
Address, B. T., Royal Academy of Music, Tenterden'Street, Hanover Square.
ST, JAMES'S HALL,
NEW PHILHARMONIC CONCERTS.
Director And Conductor » DR. WYLDE.
Principals or Tin Orchestra HERR MOLIQUE and MR. H. BLAGROVE.
3ELEVENTH SEASON.—Orchestra and Choir of 300 11 Performeri. First Appearance this season of MLLE. TITIENS. Programme of the First CONCERT, MONDAY EVENING, April 7, and PUBLIC REHEARSAL on SATURDAY AFTERNOON, April 5. Part I. :— Overture, Egmont (Beethoven); Romanza, "Vannc disce," Mile. Titirns (Meyerbeer); Concerto, in D minor, Pianoforte, Mist Arabella (.oddard (Mozart) ; Cavitina, "Bell raagio," Mile. Titiens (Rossini); Symphony, The Scotch (Mendelssohn). Part II.:—Choral Fantasia, Pianoforte. Miss Arabella Goddard (Beethoven); Caratina, " Com' e bello," Mile. Titiens (Donizetti); Overture, " Oberon " (Weber).
Price of Single Tickets for the Concert—Stalls, 15s.; first row Balcony, lis.; second row, IDs.; other Seats, M., 3s.; Gallery and Area. Is. For the Public RehearsalStalls, 7s.; Balcony, 5s. and 3s.; Gallery and Area, Is.
To be had at Messrs. Cramer 4 Co., 201 Regent Street; at Mr. Austin's Ticket Office, St. James's Hall; and all the principal muslcsellers.
HANDEL FESTIVAL, June 23rd, 25th, and 27th.— The PROGRAMME of ARRANGEMENTS, with BLOCK PLAN of Seats, and view of Great Orchestra, may be had on application, personally or by post, at 2 Exeter Hall, . „ „
The Ticket Offices at the Crystal Palace, and at Exeter Hall, are open for the disposal of Reserved Stall Tickets, daily from 10 till S.
Post-office orders, to either Ticket Office, to be payable at chief office, London; as well as cheques, to be payable to the order of George Grove, Esq.
Stall Tickets, Two and a Half-Guineas the set for three days, or One Guinea for each ticket for one day. Stalls, in each Corner, Gallery, Five Guineas the set
HANDEL FESTIVAL. —TICKET NOTICE..-. The Plans of Seats in Blocks O and O O, and P and P P. will be ready for inspection, and Vouchers will be ready for issue on Monday next, March 31.
As these Blocks, as well as those for the Raised Seats, S and SS, are among the most eligible remaining to bo issued, intending Visitors, not already supplied, will do well to avail themselves immediately of this further issue.
Half-Guinea Scats, in Blocks, without Numbers, will be issued on Wednesday, April 23.
ISS ROSE HERSEE'S GRAND CONCERT, Assem
bly Rooms, Peckham, Monday. March 3!.
Mad. Louisa Vinnlng, Miss Poole, Miss Fanny Huddart, Miss Lcffler, and Miss Rose Hersoe; Mr. George Perren, Mr. Moniem Smith, Mr. R, Seymour, Mr. Fielding, Mr. J. L. Hatton, M. Fontauler, and Mr. Allan Irving. Pianoforte: Mr. F. OsnoiiNB Williams and Mr. J. L. Hatton. Violin: Mr. H. Griesbaeh. Flute: Master Drew .dean. Conductors: Messrs. J. L. Hatton, F. Osborne Williams, Frank Bruce, and Sidney Natlor.
Stalls, M.; Reserved Seats, 2s.; Family Tickets, log, (admitting to four Stalls); to be obtained of Miss Rose Hersee, 2 Church Terrace, Caraberwell, S.
MESSRS. KLINDWORTH, H. BLAGROVE, DEICHMANN, R. BLAGROVE and DAUBERT'S CONCERTS FOR CHAMBER MUSIC (Second Season). The Third Concert, Saturday, April 5. Hanover Square Rooms, hulf-past eight o'clock.
Programme: Sestet. Sterndale Bennett. Song, Pauer. Trio (D minor), Schumann. Songs, Schubert. Trio (B flat), Beethoven. Vocalist—Miss Roberhne Henderson.
Single Tickets, 10s. 6d.; Family ditto, to admit Three, t\ Is,, at the principal Musioellors, and of the Concert Givers.
MR. DEACON'S SECOND STANCE of CLASSICAL INSTRUMENTAL MUSIC, will take place on Tuesday, April 8, at 16 Grosvenor Street, W. (by the kind permission of Messrs. Collard), commencing at three
Executants: Violin, M. Sainton, Mr. Clements and Mr. Carrodos; Viola, Mr, H. Webb; Violoncello, Sig. Pezzb; Contrabasso, Mr. C. Severn j Pianoforte, Mr. Deacon.
Tickets, Half-a-Gulnea each : Family Tickets, to Admit Three, One Guinea; to be had of Mr. Ollivier, 19 Old Baud Street; or of Mr. Deacon, 72 Welbeck Street, Cavendish Square, W.
MSAINTON'S THIRD SOIREE will take place at q his Residence, 5 Upper Wimnole Street, on Tuesday next, April 1. Programme: -Quartet, M.S., first time (W. M. Lutz); Trio, first time (Auber); Quartet, A minor (Mendelssohn).; Solo, Pianoforte; Pensee Fugitive (Stephen Heller and Erust).
Executants: MM. Sainton, Pollitzbr, Doyle, Pauur. Pianist: Mr.C. Hallb. Single Ticket, half a guinea, to be had of M, Sainton, at hli Residence, and at the principle Muslcsellers.
AN ORGANIST is required for All Saints' Church, St. John's Wood, where a new Organ, with 32 Sounding Stops, 3 Manuals and Pedals, is in course of erection. The duties consist of three services on Sundays, and the Instruction of the Choir. Salary £60.
Application, with Testimonials stating qualifications, to be made, under cover, to the Churchwardens of All Saints, Boundary House, St. Johns Wood, on or before Monday, April 7 next, after which the Selected Candidates will submit to competition.
This Journal will give a faithful report of all the productions and doings In the whole circle of the Fine and Decorative Arts—Original Articles upon the History of Art, and the interests of Artists in their profession ; Reviews of New Books relating to Art and Belles-Lettres; besides a summary of the proceedings of Artistic and Learned societies, Art Credits, Notes of Important Sales of Works of Art and Vertu, Correspondence, &C., copiously illustrated in a novel style.
The tone of criticism in THE ARl'-WOKLD will be candid and impartial ; Intolerant or glaring error and presumptuous mediocrity ; generous and encouraging in every case where merit or promise Is recognised.
The contents of the International Exhibition of 1862, coming "within the scope of Fine or Decorative Art, will be amply described and illustrated in THE ARTWORLD. Each Number of THE ART-WORLD will contain thirty-two handsome pages, printed in the belt style upon paper of a fine quality.
Published by S. H. Lindlby, at the Office, 19 Catherine Street, Strand, where communications for the Editor, Advertisements, &c, are to be addressed; and by-Kent & Co., Paternoster Row.
"Ah I would 'twere so with many
A gentle girl and boy 1 ,
Writhed not at pAsied joy?
Was never told in rhyme."
Keats first wrote the above in the album of a friend. They subsequently appeared in one of the annual " Keepsakes," and have since been embodied in the complete edition of the poet's works.
"Woelfl's 1 Ne Plus Ultra,'" edited with a biographical and critical Preface,.— by J. W. Davison (Boosey & Sons).
This modern edition of a once celebrated, then forgotten, and now (thanks to Miss Arabella Goddard and the Monday Popular Concerts) once again celebrated sonata has, we are informed, been sold out twice, and the demand for it is still so extensive as toj necessitate a third re-issue. We are not at all astonished. All musicians, as well as all amateurs, must feel a pleasure in the study of such a work, the former experiencing a delight in mastering its difficulties, the latter in hearing them surmounted by expert and diligent mechanism. Musicians will prefer the first allegro, with its profusion (well-ordered profusion, it is true) of double-notes for either hand; amateurs (ladies especially) will revel in the brilliant series of variations on the popular melody, "Life let us cherish" (attributed, we know not with how much reason, to Mozart)—variations, in their peculiar style, for fancy and happy variety never since surpassed. The suggestion! conveyed, to the minds of many by the arpeggio variation in F minor — "the breeze sweeping fitfully over the strings of an Eolian harp"—must find an echo in every mind attuned to the influence of gentle harmony. In short, Joseph Woelfl was no doubt, after his fashion, not merely a learned and prolific composer", but, tant soil peu, a musical poet, notwithstanding the undeniable fact that the Ne Plus Ultra, to speak plainly, is rather a pezzo di bravura than a work of imagination. Now that it has been, so to speak, dug out from the forgotten rubbish of the past, it is not likely—while such players as Miss Arabella
• The existing catalogues of Woelfl's compositions show him to have been not only a fertile producer, but a master of various styles. Besides a great many concertos, sonatas, and other pieces for the piano, we find two orchestral symphonies, nine string quartets, a large number of trios for various combinations of instruments, a grand duet for two pianos, and a quantity of other pieces.
Goddard, Mr. Charles Halle, Mr. Lindsay Sloper, and Herr Ernest Pauer exist—again to be laid aside and forgotten.
"Dussek's. 'Plus\Ultra,'" edited, with a biographical and critical preface — by J. W. Davison (Boosey & Sons).
Here is another successful reproduction of a famous work, too long unjustly neglected. That Dussek, if not so famous a musician, was a far greater musical poet than Woelfl, is incontestable. Dussek, indeed, was both an original and a genius. His music is crowded with ideas, and the difficulty with him is too frequently what to accept and what to reject. There is enough new material, aye, and beautiful as new, in "Plus Ultra" to furnish forth ten sonatas of its length, long as it unquestionably is. The title given to the grand sonata in A flat, Op. 71, has been stigmatised by some critics, as "vulgar and pretentious," but they have overlooked the fact that Dussek had nothing whatever to do with it. In France, where it was composed and first published, it bore the name of Le Retour a. Paris. How it came to be newly christened Plus Ultra, may be seen in the subjoined: —
"Just previously to the Retour a PdTis being sent to England, a sonata by Joseph Woelfl had appeared, under the name of Ne Plus Ultra, the finale consisting of variations on ' Life let us cherish,' somewhat in the style which Henri Herz was long afterwards supposed to have originated. Ne Plus Ultra was intended by Woelfl to convey that mechanical difficulty (he surely did not mean to insinuate musical beauty) could be carried no further; but Dussek's London publisher, judging that Le Retour a Paris was even more difficult than Woelfl's Bonata, re-christened the former Plus Ultra, and brought it out with a dedication on the title to Ne Plus Ultra.
"Plus Ultra, however"—continues Mr. Davison—"wasby no means intended as a medium for the display of executive dexterity j it is a grand and imaginative composition, one of the very few produced in the early part of the present century worthy to rank beside the masterpieces of Beethoven. Every movement is instinct with vigorous energy and intellectual power. As an artistic creation, it is in many respects the finest of its composer's works — showing (may it be said ?) Dussek, the 'Prodigal,' returned from his wanderings, anxious to deserve the affectionate welcome of tits mother, 'Art,' and admitting that he has in a great measure misused the gifts with which she so bountifully endowed him. 'Never' — it has been urged by a critical authority — ' did a genius whose early years had been comparatively misspent, labour so hard to show what was within him as Dussek, in the first movement and the scherzo of the Retour a Paris't Why, however, this one particular sonata, or the two particular movements from this one particular sonata, should be pointed out as examples of Dussek's enthusiastic yearning for distinction in his art, when so many other interesting examples exist of the same honourable ambition, it would be difficult to say. The passionate expression that stamps the Allegro non troppo, from which a sort of Weberian feeling repeatedly peeps out; the tranquil beauty and rich development of the Adagio; the plaintive character of the Scherzo (regarded by many as a kind of prophecy of Chopin — Chopin at his best, must be intended); and the animation, gaiety, and varied detail of the brilliant and sparkling Finale, are alike attractive and alike original. Rich invention and felicitous performance are apparent throughout the sonata which, though resembling neither Mozart nor Beethoven, is not the less welcome on that account — being no more nor less than pure Dussek." t
f "Never did comparative failure generate such a full glow of beauty as in the first instance, and never was success moro complete and triumphant than in the last. In the first, Dussek fell, like Phaeton, amid a halo of glory; his fall was more splendid than another's rise. In the last, he spoke the language of inspiration, untrammelled by line and rule with an eloquence that could not be misunderstood. The slow movement and the finale, if less strikingly original, are quite worthy of the rest."—Essay on Dussek.
J It is worth noting that the minuet of the Srlterzo (which, though in A flat major, has the peculiarity of beginning in F sharp minor)— first appears in No. 3 of the Stringed Quartets, Op. 60 — in E flat. There are one or two slight variations in the minuet (here beginning in C sharp minor), while the trio is altogether different.