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opera, not the fault of those which succeeded. The essential pression, modern show-pieces being completely excluded. In addition quality which did not belong to bim by instinct, was not supplied to Beethoven's work, we had a very simple sonata by Mozart, for him by experience. This has not prevented M. Clapisson from pianoforte and violin, and one of the early compositions of Mendelse being elected a member of the " Institute," but it has con sohn-namely, his fiery and imaginative quartet in B minor, for pianosiderably interfered with his success. Not one of his operas
forte and stringed instruments. The bénéficiaire, who was supported has been popular. In writing the music of La Promise, M. Cla
by Herren Ganz and Grünwald, was rewarded after each part with the pisson has too well remembered that he was composing for an
most sincere marks of applause." audience less exacting in its taste than that of the Opéra-Comique. The following is the opinion of the critic who writes for the To bring himself within the comprehension of the spectators of
Berlinische Nachrichten von Staats-und Gelehrten Sachen, in the the Théâtre-Lyrique, he has fallen into vulgarity. This not un- | number of the 23rd ult. :frequently happens to composers, who, not being naturally “The concert which Miss Arabella Goddard gave on Wednesday, in possessed of lightness of style, endeavour to assume a free and the Singacademie, was most numerously attended. The great merit of easy gait. M. Auber makes himself intelligible to the most the fair pianist's style is already generally known. The union of such unskilled in music, his gay and lively airs are within the scope of qualities as fulness and power of tone, the most blameless purity and every man's understanding, but he never oversteps the limit which certainty of technical execution, and quiet, calm conception, raises ber divides the comic from the trivial. The secret of doing this M. to an equality with the first living pianists. In addition to this, she is Auber has not communicated to M. Clapisson. If I mistake not,
so free from all the usual virtuoso-like vanity, that, as on this occasion, this opinion is shared by the critics in London, in whose remarks
she entirely renounces the composition which pleases the Salons. It upon La Promise last year it is impossible to deny that there
has scarcely ever happened before that a pianist who gave a concert was much truth, though the truths they contained were probably
selected so few of those ad captandum pieces which are favourites of
the public, and afford an opportunity of displaying the art of execution not very palatable to M. Clapisson and his friends.
in its most taking colours. "Mendelssohn's quartet in B minor (in which
Herren M. and Ed Ganz, and Herr Grünwald, lent their valuable BERLIN.
assistance), Mozart's Sonata in B flat, for the pianoforte and violin,
and Beethoven's colossal Sonata in B flat, op. 106—these, and no (From our own Correspondent.)
more, comprised the fair artist's programme. In the execution of GRAUN's Tod Jesu has been given with great success in the
Beethoven's Sonata, the fourth movement of which especially contains Domkirche, which was crammed to suffocation. The principal
almost insuperable difficulties, Miss Goddard proved herself an artist parts were sustained by Mdmes. Köster, Hahnemann, Herren
of the very first rank. Not a note was lost, and in no instance were Mantius, Krause, and Sabbath. The choruses were executed by
the calm and certainty of her execution in the least disturbed. It is
no easy matter even to understand the work. In the third and last members of the Singacademie. Herr Grell conducted, and the
movements Beethoven soars to regions whither it is difficult to follow members of the royal orchestra lent their valuable aid. A few
him. It is a piece of daring, and a sacrifice of one's self, to play such days ago, the pupils of the Joachimsthal sches Gymnasium ex
music in public; and so much greater, therefore, must we acknowledge ecuted Löwe's oratorio of Huss, under the direction of Dr. the merit of the attempt when so eminently successful.” Hahn. As this oratorio is not adapted for a church, and is rarely performed, the selection was very gratifying to the ad
Miss Goddard has left Berlin, and has gone to Prague, where mirers of the composer. The soli and choruses were effectively
she has, I hear, already announced a concert. She will not soon given, especially the “ Gipsey chorus" and the conclusion, after
be forgotten in Berlin. the melody “ Eine feste Burg." J. S. Bach's Passionsmusik is announced for Good Friday.
VIENNA. The sensation created by Miss Goddard among musicians and lovers of music is unexampled. People appear to talk of nothing
(From our own Correspondent.) else, except it be the isolation of Prussia from the Vienna con SINCE I last wrote Mad. Palm has appeared at the Imperial ferences. Although it is now some time since she gave her Operahouse as Valentine in Les Huguenots, and Antonina in second concert, the impression remains as vivid as ever. The Belisario, but without succeeding much better than on the two press is unanimous in her praise. From a host of criticisms, I previous occasions.* select at hazard the following, which, with those of Herr Rellstab The concert given by Herr Rubinstein in the rooms of the and the others you have already received, will serve well to show Musikverein was not well attended, but the few who were prehow warmly the young English artist is appreciated.
sent seemed much pleased. The programme consisted entirely The National Žeitung of the 25th ult., says :
of Herr Rubinstein's compositions. The Academie der Ton-. “The second concert given by Miss Goddard, on Wednesday, in the
kunst (the Academy of Music) gave its second public concert this room of the Singacademie, attracted a very numerous audience. The year on the 23rd ult., a very short time after the first. The progreat feature of the evening was Beethoven's grandest and most diffi. gramme comprised no less than fifteen pieces. As examples of cult sonata (in B flat, op. 106), which had previously been considered choral singing, for which the pupils are celebrated, we had two impracticable, and at the bare mention of which all right-minded mu- psalms by Lindpaintner, one for a soprano (solo) and chorus, and sicians devoutly crossed themselves. For a long time, like the Ninth the other for an alto (solo) and chorus; two choruses by Haydn, Symphony, it was regarded as the abortion of a shattered mind; the “ Die Harmonil der Ehe" and "Beredsumkeit;" a Jagd-Chor secluded maestro bad rummaged up all kinds of eccentric ideas in his old (hunting chorus), for male voices, by Czerny; a hymn for soprano age, and wishing to mystity the world, had written this wild strange (solo) and chorus, by the Earl of Westmorland; and, lastly, music, without a glimpse of common sense. We have now, by the study of The Wanderer”' and “Die Geister an Beethoven's Grabe,” Beethoven's earlier productions, gradually progressed: so far towards understanding his later works, as at least to recognise in the first three
for two soprani, alto, bass, and female chorus. There was a
variety of airs besides. As a matter of course we had a movements of the Sonata everlasting models of this kind of composition. The proportions which the first allegro attains are indescribably daring
prodigy, Malle. Julia Swoboda, aged eight, a pupil of Mad. and grandiose. ..... Miss Goddard played the Sonata with asto.
Capponi, which wonderful juvenile, or juvenile wonder, pernishing power, decision, and correctness. The execution of the con
formed, with three other pupils of the same lady, the overtures cluding fugue, which had hitherto been hazarded in public by Liszt
to La Muette di Portici and Le Domino Noir, and other morceaux. alone, in a technical point of view, the most difficult feat that can be
The public applauded frantically—as was to be expected. Only attempted by a pianist, and the facility with which it was accomplished eight years old! on this occasion, entitle the fair artist to one of the first places among
On the 24th ult., Mad. Anna Weiss gave her second concert, the pianoforte aristocracy of the present day. The distinguishing qua. in the rooms of the Musikverein. She took part in Beethoven's lities of her style are her quietude, clearness, and discreet moderation, in trio in D, for piano, violin, and violoncello, besides performing a the greatest as well as smallest details. Miss Goddard is entirely free great variety of trumpery fantasias by Dr. Liszt, Sig. Fumigalli from the obtrusive tricks of virtuosi, and renders, simply and faithfully, without any outward fuss, the full intentions of the composer.
* This is odd, since very inferior singers to Mad. Palm have made a “The whole concert produced an pepecially serious and edifying im. | reputation in Vienna.-ED, M, W.
and other choice composers. Being encored in a bravura piece Forgive me if I have said anything unjust, and attribute it to on the Prophète, she played a trifling Mazurka of her own. Sig. the feelings of a désillusione. Your collaborateur, Dr. Kist, of Marchesi was the vocalist.
| Utrecht, has given the public his opinion, in very unmistakeable On the 25th, the day of the Annunciation, the Männergesang- terms, and winds up by presuming that too much warbling may verein gave—for the benefit of the Building Fund of St. Stephen's have injured the voice of the Nightingale. He does not account church -a morning performance of Mendelssohn's choruses to for her coldness of tone and song. Perhaps the severe winter? Edipus in Colonnos, with connecting text by Herr Carl Rick. On dit, that when rehearsing Don Giovanni, under Spohr's The execution of this noble music was highly praiseworthy, and direction, at Cassel, the Doctor was more astounded than the audience testified their satisfaction by loud and repeated pleased to hear Miss Jenny commence a “tertz' too deep. The applause. A miscellaneous concert, also for a charitable purpose, Doctor is a man of few words, and hinted that Mozart's music was given on the evening of the same day in the Kärnthnerthor | did not admit of transposition; but an involuntary “Whew !" Theater. The programme contained, among other things, Weber's | burst from the worthy artist's lips when his fair débutante “ Jubel Overture," Herr Richard Wagner's “ Entre'acte" to naïvely told him that she was not aware that she had sung so Lohengrin, etc.
low. Such things happen often enough with Italian singers, although they are rare with German artists. The reverse of
this happened with Kuhr, in Frankfort. He was rehearsing ROTTERDAM
Norma with a lady, and, astonished at her not singing when the (From a Correspondent.)
orchestra commenced, he inquired the reason. “Your orchestra
Rotterdam, April 2. is half a note too high; have you transposed the music?" was ALLOW me to congratulate you and the musical public of the answer. The first violin laughed, and said, “The lady is Britain on the escape which they have had from an attack of right-she is accustomed to sing after the Leipsic tone.” Kuhr the Lind fever-more power to the contractile niuscles of Mr.
got the proper tone from Leipsic, and found that his orchestra Mitchell's right hand, he deserves well of his country. The poor
was screwed up half a note too high. He will, I dare say, Dutchmen have not been so fortunate, and the disease, adapting recollect all this, and forgive my retailing what I heard. itself to the circumstances of the clime and country, has assumed
| Jenny complained at Amsterdam that the Dutch were so cold. the intermittent form. Jenny returns to enchant the public “No enthusiasm-no ovation-no serenade," quoth Goldschmidt. after Easter. I heard the Nightingale here the end of last
“Oh!” said s- "you want a serenade, do you? You shall month, and am still suffering therefrom. Burning with antici- have it," and he touched the bell. “Tell the band not to disperse," pation, and fortified by a bottle of Rudesheimer, I braved the and in five minutes they were on their way to the Serenade density of a Dutch fog and the opposition of a six-knot "stroom" much against the will of the leader thereof, who felt his dignity from the capital of Zealand in a twelve-hours' passage to Rot-considerably compromised on the occasion. This reminds me of terdam. It was Jenny's second or third concert. The room, or an on dit of Dr. Liszt, when he and Rubini were starring it in Hall, by no means of the acoustic order by the way, was right Germany. Rubini was as careful of his coin as Dr. Liszt was well filled-about 1,500 people. The fair sex mustered very careless. In Bavaria they had been fêted with serenades and sparingly, while three-fourths of the lords of the creation dis Liedertafels à l'outrance, but on leaving the Hotel, Rubini was played those oriental features which so unerringly distinguish furious at discovering sundry charges in the bill for the same. the children of Israel. After an overture by the orchestra, “What !” said he, “ I thought these were given by the public; which by no means reminded me of that assemblage over which are we to pay for them?” Oh !” quoth Liszt, “if it comes to Costa presides, the folding-doors opened, and the fair Jenny that, make your mind easy-I ordered them.” Most of the artists tripped it right mincingly down the steps of the platform. “Ob have quitted Holland. The two Fernis still enchant the public die Wolke sie verhülle," from Der Freischütz, was her first aria, by their delightful performance; and Madle. Emilie Walter is and I was almost uncharitable enough to wish it her last. Alas! giving a few farewell concerts at Utrecht, Leyden, and the Hague, for my mal-organisation, it left a most painful impression upon previous to quitting for Italy, where she has to sing an engageme. Ye gods! thought I, is this the world's wonder? The great!
ment of 40,000 fr., before going to Rio, where she is offered one the gifted! who combines the force of a Catalani with the fire of
of 75,000, and expenses paid. M. de Voss, the director of Felix a Malibran, and the delicacy of a Sontag. An irritable German Meritis, in talking to me lately as to the various artists who in my neighbourhood made use of strong expletives, and some had visited Holland, said that he had been many years director thing which would stand, translated in the vulgar-sold again, l of that institution, and that the two voices which had created and lost your money. My impression was, take it for its worth, |
the greatest sensation in Holland, within his recollection, were & voice of very small compass-no depth-the middle tones so those of Herr Formes as basso, and of Madle. Emilie Walter veiled as to make me dread an attack of incipient deafness on
as soprano. my part; and of the upper notes, some so thready and uncongenial, that they became painful when contrasted with the few
FOREIGN MISCELLANEOUS. round and full tones which accompanied them, and throughout
NAPLES—(From a Correspondent).-Professor Pappalardo, the whole a coldness, an icy coldness, that makes me doubt whether the fair Jenny be not a crystallized Undine. In
well known here as a composer of trios and quartets, directed Undine's case, matrimony endowed her with a heart, but I
the performance of his first quintet, on the 22nd of December,at
the mansion of the Cavaliere Colonna, a munificent amateur of suspect that Jenney's better half never possessed much himself. He endeavoured to act upon the public on the homeopathic
music and the fine arts. Signor Pappalardo has been greatly principle of “similia similibus curantur;" the same
extolled for this composition. In simplicity of style and clear
ness of instrumentation, it is affirmed, he evidently belongs to chilliness pervaded his fingering which ran through
| the school of Haydn. Still, he does not entirely disembarrass her vocalisation. Can you wonder that the audience were cold. Beatrice di Tenda followed, as unhappily produced
himself from the national feeling. He understands how to en. as Der Freischütz. Her last aria was from the Zauberflöte. This
graft Italian melody on German harmony; and by this means suited her better, and she also sang it better, and was rewarded
aims at conciliating the learned and unlearned in the art. The
performance attracted a large concourse of fashionables and the with a modicum of applause, which induced her to re-favour us with a morceau. The recall was a very quis-quis one, but let it
dilettanti of Naples, and was eminently successful.
ERFURT.-Meyerbeer's Etoile du Nord has been produced with great pass-it served her turn. Her echo song closed the evening--a
success. most unique performance, more worthy of M. Alexandre or
MAYENCE.-The first representation of L'Etoile du Nord is an. Houdin. Kean might make a good harlequin, but would not
nounced for this week. like to found his reputation on the character. The movement
LEIPSIC.-A new four-act romantic opera, entitled Der Erbe von of the head and body with which the illustrious Jenny perse | Hoheneck will shortly be produced. The music is by Herr M. Hauser, cuted the unfortunate echo from one corner of the building to and the libretto by Herr Èd. Devrient. another, involuntarily reminded me of a pet parrot of mine, who BROMBERG.--Herr von Bülow (pupil of Dr. Liszt) gave a concert used to pride himself much on his perfection as “a waverer.” | in the Saal der Loge, which was numerously attended. He played Beethoven's Sonata apassionata; Richard Wagner's “Einzug der MR. ALLCROFT'S CONCERT.-Mr. Allcroft's second “Musical Gäste auf Wartburg,” transcribed by Dr. Liszt; a Nocturne by Chopin ; | Festival" came off on Monday night, at the Lyceum Theatre. a “ Lied ohne Worte," by Mendelssohn; and a Mazurka of his own.
The “artists” numbered some five-and-twenty, without inThe audience were loud in their applause.
cluding Messrs. Distin, Sons, and Herr Kurutz, the ChanHANOVER.—Herr Marschner's Hans Heiling went off with great
teurs Montagnards, a tolerably numerous orchestra, four éclat at the Opera. A laurel wreath, thrown to the composer by the hands of majesty itself, was his reward.
conductors and a leader. A Miss Mason, and a Signor HAMDURGH. — Félicien David's Désert was performed, on the 17th
Raffaelo Palmerini, "from the theatres Reali Milano, Roma, ult., for the benefit of the Pestalozzi Stiftung.
Napoli," etc., were novelties; and Herr Formes made "his FRANKFORT-ON-THR-MAINE.--Herr Damcke, from St. Petersburgh,
first appearance this season.” The concert commenced at seven; has been lecturing on the history of music from the beginning of the
but when it ended we have no idea. At eleven there were Christian era down to the present day.
yet four pieces in the first-part to be executed. The length of
the programme might have been almost endurable had the PROVINCIAL.
audience been less exacting. We might have pardoped the enLEEDS.-A new organ, built by Mr. William Holt, of this cores awarded to Mr. Sims Reeves and Herr Formes ; but when town, has been opened for public service in the Independent the audience became indiscriminate in their approval, and wanted Chapel, Lister Hills. This chapel was originally founded, and to encore what was unworthy of being heard even once, it was the greater amount of the cost of its erection defrayed, by Alder enough to make the judicious grieve and the patient weary. Inman Smith, to whom the congregation are now indebted for the stead of repeating “The Pilgrim of Love," Mr. Sims Reeves new organ. The screen, fronted with mahogany, is in the pointed substituted “My Pretty Jane," which created the usual impresstyle of gothic architecture. Mr. Holt himself presided on the sion. In place of the Swiss fune, “All lonely now my flocks I occasion, and had every reason to be satisfied with his workman tend,” Mad. Thillon favoured the audience with her much-used ship. The services in the chapel were prefaced by a tea-party “Minnie," and instead of a new ballad of Mr. Linley, her favourite in the School-room, at which several ministers of the town were “Say yes, Pussy.” Herr Formes was encored in "Pour fuir son present. In the course of the evening a paper on Sacred Music souvenir,” from L' Etoile du Nord, but having left for St. Martin's and Congregational Psalmody was read by the Rev. H. R. Rey Hall, to sing for Mr. Alfred Mellon, the demand was not acceded nolds, of Leeds. The pastor of the chapel, and the Rev. J. R. to. Miss Rebecca Issacs, in Mr. G. Linley's ballad, “ Laddie,” Campbell, M.A., of Edinburgh, took part in the proceedings. which she gave with much archness of expression, was also On Sunday the anniversary sermons were preached by the Rev. unanimously encored. On the other hand, among the performers D. E. Ford, of Manchester, after which collections were made.-1 who merited but did not obtain encores, were Mrs. Sims Reeves Leeds Times, 31st March."
in “Robert, toi que j'aime;" Mad. Clara Novello in a pretty and BRIGHTON.-At the last concert of the Amateur Symphony characteristic song by Mr. Frank Mori, called “The Vivandière;” Society on Thursday evening, in the Pavilion, the programme
Miss Messent in a ballad by the same composer; Mr. Lazarus in contained among other things Mozart's Symphony No. 1, and the a fantasia on the clarinet, and Herr Ernst in Mayseder's Variaoverture to the Caliph of Bagdad. In the Symphony the tions Brillantes, with his own extraordinary Cadenza. This last orchestra showed a marked improvement over last season. The display was little short of prodigious. Mr. Augustus Braham Caliph of Bagdad, though old, is a favourite ; but the time at sang, with excellent effect, his glorious old father's last song, which it was taken was too quick for an amateur orchestra. Mr. “Never Despair,” which is instinct with the ancient fire and wellRivers sang twice ; and in an air of Meyerbeer's was encored. | marked phraseology. This was also his best effect, and he should have repeated it A list of the vocalists and the pieces sung and played would instead of substituting a vapid sentimental ballad.
take up a column; but as it would not be likely to entertain our Beethoven's overture to Prometheus was very well played. readers, we must end by saying that the house was crowded in Mr. Oury was the conductor, as usual. The room was ex every department, including even the greater portion of the ceedingly well filled ; indeed, it was the best attendance of the stage, which, as before, was railed off to separate the performers season.
from the audience; that everybody seemed pleased with everyMANCHESTER.—The benefit on behalf of Mr. Rogerson, drew thing, and never complained of having too much; and that the a large audience to the Theatre Royal on Monday evening. | names of the four conductors were Messrs. J. H. Tully, J. G. Mesdames Armstrong, Winterbottom, W. H. Flinn; Messrs. i Callcott, Wilhelm Ganz, and Meyer Lutz. Perring, Slater, Guilmette, Delavanti, Signor Paltoni, with the i M. ALEXANDRE BILLET'S CLASSICAL PIANOFORTE PERFORMLancashire Choral Union (under the direction of Mr. Newall), | ANCES.--The second came off on Friday last (the 30th ult). The were the vocalists; Mad. Arnati Collins, Messrs. C. A. Seymour, programme was full of interest. M. Billet began with the Thorley, J. T. Harris, Andrews, and his three sons, the solo sonata in F, by Mad. Paradies, a Viennese lady, celebrated, at instrumentalists. The orchestra of the theatre, under the able the end of the last century, as a pianist and composer. Marie direction of Mr. Loder, also assisted, and Mr. D. W. Banks con Therese Paradies composed several operas, which were received ducted. The Choral Union also undertook to add to the pieces | at Vienna with great favour. Her works for the pianoassigned to them. Previous to the commencement of the concert, forte-or more properly, clavichord--were principally conthe honorary secretary, Mr. John Curtis, delivered an address, fined to sonatas, of which she wrote fourteen. The sonata in written by Mr. Charles Swain. The receipts of the evening, we F was a highly interesting example of a style of composition understand, were £85; a sum which will leave, after all ex which essentially belonged to the period at which it was written. penses, about £50.
Mad. Paradies, in manner and treatment, resembled Scarlatti. The CHORLTON-ON-MEDLOCK. – A family concert, given by Mr. Suite de Pièces, of Händel-No.8 in F minor-which came next, Richard Andrews and three of his sons, drew a well-filled room was greatly admired by the audience, and applauded throughout. at the Town Hall, on Friday evening last.
In the Gigue, more especially, M. Billet was overwhelmed with
“bravos." Mendelssohn's Fantasia in F sharp minor-dedicated DRAMATIC GOSSIP.–At the Standard Theatre, Miss Glynn is to Moscheles—was better suited to show the vigorous and continuing her performances to crowded houses nightly. Her masterly execution of the player. It was admirably performed, latest achievement has been in Webster's horrible tragedy, and the Finale Presto—“caviare" to the majority of pianists The Duchess of Malfi, modernised by Mr. Horne, in which she unanimously encored. Woelfl's Fugue and Sonata, in C minor, played the Duchess with great effect. Miss Glynn was supported Op. 25, was M. Billet's next essay. This sonata is the best by Mr. Marston (the other reigning star of the East), as the known and most admired of all the composer's works for Duke, and Mr. Bradshaw, as Batsola.-At Astley's, the revival the pianoforte. The Fugue is very fine, and indicates of Timour the Tartar, produced forty years ago at Covent Garden, great contrapuntal knowledge; but we prefer the other has been very attractive, and the elephants continue their extra movements of the regular sonata. Hardly any perfurordinary performances. - Mr. William Wallack has sublet the mance of the evening was more creditable to the pianist Marylebone Theatre from Easter Monday to the 2nd of June. than this. Although the Fugue and Allegro were more calculated to show his command of the instrument, the duct as a gentleman, both in public and private life we have Allegretto obtained the largest share of sympathy from the every reason to believe beyond reproach-in short, an audience. M. Billet terminated his performauces with three
example. We feel quite convinced that Her Majesty and morceaux-“Impromptu en forme d'Etude," composed by himself; “Taïaut," Chasse, E flat, by Fumagalli; and Thalberg's
the Prince Consort, who are renowned for their social virtues Andante et Etude in A minor. Miss Julia Bleaden varied the
and personal amiability, would on no account sanction a performances with two songs—Nini's recitative and air, “Oh! | palpable injustice towards one of their household, who has qual silenzio,” and Haas's Tyrolienne, “ Through meadows served them long, ably, and with true fidelity. That Mr. green," in which she was encored. The third and last perform Edmund Chipp has done this is notorious; and it seems ance is announced for Friday, April 13th.
utterly impossible that his dismissal from the private band
should be confirmed by those illustrious individuals. Mr. NOTICE.
Chipp is cashiered on suspicion of having written a letter, of ADVERTISEMENTS.-It is necessary to inform advertisers that we which he absolutely knew nothing. Nay more, we are able
cannot undertake to extract advertisements ourselves, for insertion, from other papers. Whatever advertisements are intended
to show that, until long after the publication of his own for the MUSICAL WORLD must be sent to the Office by the proper
letter, in which he demands, as an act of justice, that we authorities or their agents. This will render all mistakes im
shall formally absolve him from the suspicion of having been possible for the future.
the author of the communication signed “Truth,” he was In accordance with a new Postal Regulation, it is absolutely utterly ignorant in whose hands the Editorship of the
necessary that all copies of THE MUSICAL WORLD, transmitted | Musical World was vested. through the post, should be folded 80 as to expose to view the red
As many of our readers may have overlooked the letter of stamp. isrequested that all letters and papers for the Editor be addressed
“Truth,” or have forgotten what was the subject of it, to the Editor of the Musical World, 28, Holles Street; and all
we think it advisable, having taken up the discussion, to business communications to the Publishers, at the same address. reprint it from our impression of Jan, 20. CORRESPONDENTS are requested to write on one side of the paper
“HER MAJESTY'S PRIVATE BAND. only, as writing on both sides necessitates a great deal of trouble
To the Editor of the Musical World. in the printing. TO CORRESPONDENTS.
SIR, It gave me much satisfaction to read the very just and true
statement made in the letter of " A Chorus Singer," inserted in your ADALGISA.—No fee is required. The MUSICAL WORLD does not valuable journal of last Saturday.
transact business in that way. Our fair correspondent shall It is a matter of much regret that there should be only too true a receive due attention.
cause for such remarks, J. S. (Lewisham).—There is no regular depôt in London, but it
There is one mistake I consider you have fallen into in your clever can be obtained through any of the foreign music-sellers.
leader on the same subject, which, when you know the truth (and that can easily be discovered by inquiry), you will at some future time rectify. In speaking of the pay of the private band, you call it
“liberal.” Now the salary of either Mr. or Mrs. Anderson may be THE MUSICAL WORLD.
“liberal”-for that is a point not open to public inquiry, and that
Her Majesty is led to believe that all the members of the Private LONDON, SATURDAY, APRIL 7TH, 1855.
Band are “liberally " (paid, I hare no doubt whatever. But I think,
when you are told that the principal part of the members only receive MR. EDMUND CHIPP has been dismissed from the Queen's
£80 or £100 per annum, and that they are required for that sum to bo
always in readiness to fulfil Her Majesty's commands, to the loss of all band. This arbitrary proceeding has astonished every one,
other engagements which they may by chance make; and that they are and henceforth no member can feel comfortable in his place. taken from their houses in town for the greater part of the winter to The explanation given by Colonel Phipps was: that, in conse Windsor, without any further allowance being made them for increased quence of the publication of a letter signed “Truth,” which expenses attending the having to keep up a second place of residence, appeared in the Musical World on Saturday, January 20,
I do not think you can, in justice to that part of the musical profession, and of another letter, signed by Mr. Edmund Chipp himself
make use of the term "liberal” as regards their salary.
There are many more arrangements respecting the Private Band of (February 3), in which that gentleman denies the authorship Her Majesty Queen Victoria, which ought--and I trust will meet with of the first, his services would no longer be required.
exposure before long; exposures which may possibly, nay, I believe It becomes our duty to repeat here what we declared in will, astonish Her Gracious Majesty as much as any of her musical obedience to Mr. Chipp's-urgent request, as embodied in his
I remain, sir, yours obediently, TRUTH. communication of February 3, that he was not the author of The suspicions to which the above gave rise, and the eventhe letter signed “ Truth ;" that he knew nothing whatever tualities that threatened to follow their possible corroboraabout that or any other letter on the subject ; that he had, tion, no doubt induced Mr. Chipp to address a letter to on no occasion whatever, been in correspondence, either on the Editor of the Musical World, with the laudable object of paper or otherwise, with this journal; and that, until the exonerating himself. This letter it is well to reproduce, as reception of the letter to which his name was affixed, we a pendant to the other. had never seen his hand-writing. These are facts which we
HER MAJESTY'S PRIVATE BAND. shall be happy to reiterate, viva voce, to any one who may have authority in the matter, or is desirous that Mr. Chipp
To the Editor of the Musical World. should receive strict justice at the hands of Her Majesty, and
SIR,-You will I hope excuse my trespassing upon your valuable not be punished for a transaction with which he had no more
space; but, in consequence of the appearance of a letter in the Musical
World of the 20th inst., signed “Truth” (a letter which all acquainted to do than Mr. Anderson, or Col. Phipps himself. From all with the facts must acknowledge merited its signature), Mr. Anderson we have learnt, Mr. Chipp has discharged his duties, as has, in his endeavour to find out the author, thought fit to rest his sus. Musician in Ordinary to Her Majesty, and Member of Her picions upon me, and to accuse me to others of being the writer; Majesty's Private Band, with the utmost zeal and punctuality
resting big suspicions upon an assumed similarity of remarks in that for a great number of years. His eminent talent as a musician
letter and certain remarks contained in a private correspondence which
took place between us last autumn relative to professional affairs. That is unanimously acknowledged in the profession, and his con- correspondence I must, if necessary for my own exoneration, make public; since, if uncontradicted, Mr. Anderson's present declarations of the ante-Easter season, when the King's Theatre comamount to a direct attack upon my character.
menced its season as early as the first week in February, Mr. Anderson threatens that if the letter in your Journal should be
with some of its most famous singers, and with novelties traced to myself or any member of H. M.'s P. B., he (Mr. Anderson) | shall immediately give orders that such person is refused further admit to which the management looked for enduring success. tance into the Queen's Palace. Whether such an extent of power is Year after year, the opening was deferred to a later period, vested in the office Mr. A. occupies I know not; but, from the tone in until at length the performances before Easter were rewhich the threat was conveyed, I have no reason to doubt his inclina.corded merei
clina. I garded merely as a sort of preamble to the regular season. tion to put it into execution. Therefore, as an act of courtesy no less
To account for this gradual change is not easy. Something than of justice, I trust you will kindly insert this note, and deny (as you have the power of doing) that I have ever had communication
may be attributed to the movements of Parliament, which with your Journal previous to this date.
began to sit later and later every year, until recently, when I am, Sir,
critical events summoned both Houses as early as November, Your obliged servant,
We are inclined to think, however, that the principal cause January 30th, 1855.
was that the best singers were always engaged during the and Member of Her Majesty's Private spring at the Italian theatres of Paris and St. Petersburgh, Band."
which precluded their appearing in London until after [Mr. Chipp speaks literally the fact. Not merely has he Easter. The establishment of Italian opera in the capital of never had any previous communication with this Journal, but | Russia is comparatively of modern date. Since Rubini we never even saw his hand-writing until now. It is, therefore, I undertook the management, it has been the aim of each scarcely requisite to add that he is not the author of the letter is not the author of the letter successive director to secure the most celebrated artists for
cessive dire signed “Truth.”—Ed. M. W.]
the favourite Court theatre. At the Italiens, in Paris, The assurance we gave then we repeat emphatically here. I nothing short of the highest talent is tolerated, and the Mr. Chipp is wholly innocent. The writer of the letter
| merits of new singers may be tested by the reception acsigned “ Truth” enclosed his name and address (which wecorded them in the Plâce-Ventadour. A plainer and more have still in our possession), in deference to a rule enforced
evident reason, however, may be assigned for the late openby all respectable journals-since, where mutual good faith ing of the Royal Italian Opera this year. The subscription is established, the chances of imposition are greatly diminished | must have suffered materially through the absence of so if not altogether disposed of. We have no right, and indeed many habitués in the Crimea, and the sad deprivations which no desire, to disclose the names of any of our correspondents have placed a host of families in mourning. Taking this who may honour us with their confidence, unless we are led into consideration, the directors have acted wisely, we think, to believe that they have deceived or attempted to deceive in making the season as brief as possible. If its attractions us, which in the present case is out of the question.
rival its brevity, there will be no cause for grumbling. Just now we must quit the subject; but in the meantime The prospectus is less replete with interest than usual. our columns are open to Mr. Edmund Chipp, or to Mr. Mad. Grisi's secession will be severely felt: Mdlle. Sophie Anderson, or to any one who may feel aggrieved. Our ob-l Cruvelli cannot come ; and, unless Malle. Jenny Ney, the ject is to elicit truth, and, as the conductors of a journal new prima donna, should surpass expectation, subscribers devoted to the interests of music, protect to the
will have to put up with the loss of Norma, Lucrezia Borgia, best of our ability, the just claims of its profes- Semiramide, La Favorita, Ernani, Fidelio, Anna Bolena, and sors. We have no prejudice one way or the other, other operas, in which those two dramatic singers were unno ill feeling against any one; but we entertain a strong rivalled. To atone for the absence of old friends, novelties and honest disinclination against allowing any act of are promised, which may serve, at least, to close the lips of injustice to be committed, upon which, as musical journal- discontent, if not entirely make amends for what is gone. ists, it is our duty and our right to comment. For these Great stress is laid on the production of Meyerbeer's Etoile reasons we shall return to the subject, and “ report progress” | du Vord. “It would be difficult,” says the prospectus, “to to our readers, being intimately persuaded that Her Majesty express the great gratification which the directors feel (a the Queen, and H.R.A. Prince Albert, will not give their sentiment which will, doubtless, be shared by the musical countenance to an act which robs a deserving servant of his public in general), in being able to announce that they have means of existence, and condemns an innocent man to al entered into arrangements with that illustrious maestro, severe and unmerited punishment; perhaps, indeed—who M. Meyerbeer, for the performance of his last new opera, knows ?-consigns him to ruin and his family to want. L'Etoile du Nord, a work the success of which most certainly Mr. Chipp's only crime has been a wish to absolve himself finds no parallel in the annals of the lyric drama.” Withfrom an unwarranted suspicion. We were happily able to out believing, with the directors, that Meyerbeer's last effect so much in his behalf; he appealed to us in a straight-opera has achieved “a success which finds no parallel,” since forward manner, and we did it. He may console himself M. Meyerbeer has furnished parallels himself, the Etoile du with the reflection that his honour is untouched, although Nord is the great fact” of the prospectus, and is likely to his position and livelihood may be perilled. Should his dis- make amends for many deficiencies. Its production will missal be confirmed, which again we declare to be impossible, tax the whole resources of the theatre. Mdlle. Jenny Ney it is not for us, but for his own legal adviser, to tender him
-a German prima donna of reputation-is engaged for the advice.
part of Catherine; while the cast otherwise will include the
names of Malle. Marai, Sig. Gardoni, Sig. Lablache, and THE prospectus for the ninth season of the Royal Italian Herr Formes. M. Meyerbeer's sanction has been accorded, Opera contains some matter for speculation. The first thing in consequence of the efficient manner in which it will be likely to engage attention is the tardiness of its appearance. put on the stage; and furthermore, it is hinted that the The 10th of April is the day announced for the opening—a composer himself may “personally superintend” the perdate unusually far advanced in the year. Old frequenters formances. To conclude, “M. Meyerbeer has composed, of the Opera will remember with regret the achievements expressly for the Royal Italian Opera, on poetry written