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MONDAY POPULAR CONCERTS.
ST. JAMES'S HALL.
EIGHTY-SEVENTH AND EIGHTY-EIGHTH CONCERTS.
MR. SIMS REEVES, at the MONDAY POPULAR CONCERTS, St. James's Hall, on Monday Evening, Juno 16, when he will sing Lake's '• Summer ij Sweet" (by dciire), the " Hunter's Song" (Mendelssohn), aod "Felice 11 dl." Mr. Charles Halle, Herr Laub, and M. Davldoffwill also appear. Programmes and Tickets at Chappell Sc Co.'s, 50 New Bond Street; and at Austin's, 28 Piccadilly.
ONDAY POPULAR CONCERTS, St. James's
11.ill.— On Mon lay I'.v. ninp next, June 16.
Pianoforte: Mr. Chariot Halle; Violin, Hirr I-aub; Violoncello, M. DavidoiT. Vorali&U- Mile. Florence l-ancia. Mist Itoden, and Mr. Sims Hceret. Sofa Stalls, 5s.; Ridconr, 3s.; Unreserved Se.its, Is. Ticket* and Programmes at Chappell & Co.'s, 50 New Bo> d Street.
MONDAY POPULAR CONCERTS, St. James's
Davidoff, Mile. Florence Iatncia, Miss lioden, and Mr. Sims Reeves will appear.
Pabt I—Quartet in B flat major. Op. 131, for Two Violins,Viola, and Violoncello, MM. Laub, Kies, Sehreurs, and Davldon* (Beethoven). Song, " Vol che sapeto," Miss Rotten (MolartJ. Song, "Felicia dl," Mr. Sims Reeves (II. S. Oakley). Pridre et Barcarolle *" L'Etoile du Nord," Mile. Florence Lancia (Meyerbeer). Song, "The Hunter's Song," Mr. Sims Reeves (Mendelssohn). Sonata in D major, for Pianoforte solo, by desire (No. 11 of Mr. Halle's edition), Mr. Charlrs Haiti (Mniart).
Part 11.—Romance In F fur Violin Solo, Herr Laub (Beethoven) Song, "Sum. mer is sweet" (by desire), Mr. Sims Reeves (G. Lake). Song, "Where art thou wandering?" Mile. Florence Lancia iF. Mori), i'eraa con variasionl in D major, fur Pianoforte and Violoncello, Mr. Charles Halle and M. Davidoff (Mendelssohn). Conductor: Mr. Benedict. To commence at Eight o'clock precisely. Sofa Stalls, St.; Balcony, 3s.: Admission, Is,
Tickets to he had at Chappell & Co.'s, 50 New Bond Street; Cramers: Co.'s, 201 Regent Street; Keith, Prowse & Co.'s, 4a Cheapalde; and at Austin's, 28 Piccadilly.
FOR the BENEFIT of HERR ERNST, on Monday Evening, Juno 23,1S02.
Pmit 1 Trio, In B flat. Op. 99, for Pianoforte. Violin, and Violoncello, MM.
Halle, Laub, and Piattl (Schubert); Song, •' Tamo," Mr. Sintley, by permission or J. H. Mapleson, Esq (J. Benedict); Klegie, for Violin Solo, with Pianoforte Ai companlinent, Herr Joachim (Ernst); Song, " Mine be a cot," Mad. Sainton-Dolby (Pinto); Sonata, in D, Op. in. Mr. Charles Halle (Beethoven).
Pabt 11.— Quartet, first time of performance in England, 1st Violin Herr Joachim; 2nd Vio iri, Herr Laub; Viola, Herr Molique; Violoncello, Sig. Plalti (Ernst); New Song, Mr. Santl-y (Herht); Song," When I was young," Mad. Salnton.Dolby (H. F. Chorley); Pensees-Fugitives, for Violin and Piano, MM. Laub and Halle (Ernst and Stephen Heller). . _
Conductor: Mr. Benedict.
Sofa Stalls, 10s. 6d. and 5s. May be secured at Chappell ft Co., 50 New Bond Street.
CJT. JAMES'S HALL.—MR. CHARLES HALLE'S
O BEETHOVEN RECITALS.
The FIFTH CONCERT will take place on Friday Afternoon, June 20, IS62, to commence at 3 o'clock precisely.
Sonata, Op. 29, No. 2 (Beethoven); Song, M. Jourdan; Grand Sonata, Op. 29, No. 3 (Beethoven); Andante, Op. 33. in F flat (Beethoven); 32 Variations on an Original Theme, in C minor (Beethoven); Song, M. Jourdan; Grand Sonata, Op. 53 (Beethoven).
Pianoforte: Mr. Charles Halle. Vocalist: M. Joukoan. Accompanyist: Mr. Hahold Thomas. Sofa Stalls, 10s. 6d.: Balcony, 7s.; Unreserved Seats, 3s. Tickets at Chappell St Co's, 50 New Bond Street; Cramer ft Co.'s, Regent Street; R. Ollivier's, 19 Old Bond Street; and at the Hall, 28 Piccadilly.
HER MAJESTY'S THEATRE. — Grand Morning Coocert It is respectfully announced that a GRAND MORNING CONCERT
will be given at Her Majesty's Theatre on Friday, June 20, when the most distinguished vocalists of this establishment will appear, in conjunction with all the most celebrated artis s in London, it being the only occasion this sc.iton when such a combination of talent can be assembled together at one entertainment.
Vocalists: Mile. Titiens, the Sisters Marrliisio. Mile. Trebelll, Mil.. Marie Crurelli, Mile Ida Giiiiers, Mad. Florence Lancia, Mad. Lemaire, Mail. Lemmens-Sherrington, Mad, Guerrabella. MUs Susanna Cole, Miss Rnden, Miss Clari Eraser, Miss Palmer, Mad. Weiss, and Miss Louisa Pine; Sig. Gitiglini, Sig Gassier, Herr Hel.har.lt, Sig. Cosrlli, Sig. Zucchini, Mr. Harrison. Mr. Swift, Mr. Tennant, Mr. Wilbye Cooper, Mr. Weiss, Mr. Santiey, and Mr. Sims Reeves.
Instrumentalists: Violin, Herr Joachim; Pianoforte, Mr. Charles Halle, M. Ascher, Mr. Agnilar, Mr. J. F. Ba-nett, and Herr Jae).
Conductors: Messrs. Balfe, Benedict, Frank Mori, Aguilar, W. Carter, and Sig. Arditl.
List of nrices: Boxes, grand tier. £4 4s.; Pit tier, £2 12s. 6d.: First ditto, £3 3s.: Second ditto, £2 2s.; Third ditto, £1 lis. 6d.; Stalls, £1 Is.; Pit, 7s.; Amphitheatre Stalls (first and second rows), 7s.; Ditto and other rows, 5s.; Gallery, 2s. Gd.
Application for Stalls, Boxes, and places to be made, at the box office of Her Majesty's Theatre ; and tsoosey ft Sons, Holies Street.
To commence at 2 o'clock.
TO CORRESPONDENTS. Tempest.—" If this be the mission of tyrannies and tyrants, England has her mission too. It is to feed those beacon lights of Liberty, which, dead or dying on the continent of Europe, blaze only on her headlands ; for she is its vestal virgin, and must watch by night and day lest the sacred flame expire."
To Advertisers.—Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magazine of Messes. Duncan Davison & Co., 244 Regent Street, corner of Little Argyll Street (First Floor). Advertisement* can be received as late as Three o'Clock P.m., on Frtdays—but not later. Payment on delivery.
J Two lines and wider 2s. Gd.
ft rrms \ Every additional 10 words Gd.
To Publishers And Composers.—All Music for Review in The Musical World must henceforth be forwarded to the Editor, care of Messrs. Duncan Davison & Co., 244 Regent Street. A List of every Piece sent for Review will appear on the Saturday foUoioing in The Musical World.
To Concert Givers.—No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.
LONDON: SATURDAY. JUNE 1 4, 1862.
AN unexpected appearance lias been that of M. Tlialberg, who for years has not plnyed in public in London, or, indeed, in Europe. As nearly a quarter of a century has elapsed since he was at the very height of his popularity in Paris (1835-37), his playing wa3 a novelty for the Parisians of the rising generation, and a lesson for many of their pianists; while all who had formerly heard him in his prime, went with eagerness to his first concert (April 22), as to a welcome festival which had not been held for a considerable period. There was, it is true, no want of puffed-up "neologists," who, when his intention was first announced, were ready with the old phrase: "Tlialberg, indeed! who will go to hear Thalberg?" But the result has shown they were mistaken; for it is a very considerable period since any virtuoso drew such large " paying " audiences as M. Thalberg at his recent concerts in tlie French capital.
M. Thalberg, who at present, we believe, is about fifty years of age, even as far back as thirty years ago had attained, as a pianoforte-player, the highest possible reputation — the only one who could compete with him being Liszt. He is now performing, and has been performing, ,in Paris, most of his latest compositions; but if we would note, with wonder, the difference between his playing and the piano-thumping of some of the "lions" of the day, we must hear him in his old fantasias, which we have known—if we may so express ourselves—since we were children in arms. Every one is aware that the charm of the style introduced by M. Thalberg consists in allowing the melody to be heard in the midst of a profusion of bold and more or less elegant passages, and from his being—thanks to the delicate blending of the most brilliant embellishments with the song of the melodic theme—a Rossini in some sense, as it were, of the piano. With the song I—Aye! this is the great difficulty in execution. How do they who are not Thalbergs play these melodies? Simply by accentuating every note with a stiff and exaggerated pressure,—the result being that the notes thus struck are blurted out, not sounding and singing in a melodiously connected series, but producing an effect similar to that which would be produced by a clarinet, a horn, perhaps a trumpet — perhaps, indeed, a trombone—the melody hewed out with sharply defined distinctness, but destitute of unity and flow. Let anyone now hear II. Thalberg and his tonel It is ridiculous to speak of tone upon the hammer-like piano, was thought and said a hundred times —before M. Thalberg was heard—the M. Thalberg of to-day, who can scarcely have played so finely thirty years ago as he plays at present, for, had he done so, even Friar Liszt could have hardly stood against him. We are in astonishment at finding ourselves enthusiastic for a virtuoso, but such is the case; we are completely carried away by his talent, and feel that it is far easier to revile "virtuosity" than to explain it. It must bear the stamp of individuality, and, above all, reserve predominance for the chief characteristic of a classic execution— namely, moderation, without which art is no longer art. M. Thalberg's singing on the piano does thoroughly bear the stamp of individuality; he has his own peculiar touch, ranging from the gentlest delicacy to explosions of the fiercest strength; and, just as he despises the abuse of dragging the time (in which others indulge till it becomes mere whimpering), he never, on the other hand, plunges headforemost into the whirlpool of arpeggios, scales and runs, for he well knows that these should never be introduced merely on their own account, their "beaux yeux" being barely half the battle. In the very middle of the rapid stream he remains master of himself, and, consequently, master of the rolling tide. "Never," exclaims a German critic,* "is there a moment when he is flung out of the true course of the evenly beautiful in true art; never js there the slightest tearing or hacking of the melodic song." (Who could mistake this for British rhapsody?) Those were not far out who called his playing—and the enjoyment it produces—aristocratic; and this is, perhaps, its character even more now than formerly. But "virtuosity" must be aristocratic, in order to avail itself of its greatest justification in art. When it descends to "Yankee Doodle," and the "Carnaval de Venise," it becomes plebeian, and every dilettante of liberal education does well to turn away from it.
At M. Thalberg's first concert (on Monday afternoon, in the Hanover Square Rooms), almost every pianist, foreign or non-resident in London, was present. The accomplished virtuoso was the only attraction. He played nine times, and held his audience entranced for the space of two hours, almost uninterruptedly—a feat which, now-a-days, any other vhtuoso would find some difficulty in accomplishing.
AT the meeting held on the 23rd July, 1861, on the occasion of the Grand Vocal Festival at Nuremberg, it was proposed to found a Vocal Association (Siingerbund) for all Germany. It was agreed that the best means of carrying out the project would be to establish branch Vocal Associations in the different kingdoms and principalities of the country, which branch Associations could then be affiliated with the Grand Association. The task of arranging all the details was confided to the Swabian Vocal Association. The committee of the latter, consisting of Dr. Pfaff, Dr. Elben, Professors Faist, J. Raur, and W. Wiedemann, who entered upon their arduous duty with the greatest alacrity, have just published their "First Report on the preparatory Measures adopted for the Foundation of a German Vocal Association." From this report we are
able to condense some interesting particulars relating to the spread of Vocal Associations for male voices throughout Germany:—
I. Thuringia— Siingerbund of the Coburg Land-Liedertafel, seventeen societies, with 400 members; principal place of meeting, Rudolstadt. — Henneberg, twenty-six societies (Schleusingen).—Apolda, four societies.
II. Maine and Lahn District.—1. The United Frankfort Mannergesang-Vereine, fifteen in number, with about 550 members. 2. The Rhein-Main Vocal Association, with fourteen Vereine and 400 members, from Riidesheim to Frankfort; principal place of meeting, Idstein. 3. The Mainthal Vocal Association, twenty-seven Vereine, from Aschappenburg and Darmstadt to Friedberg and Hanau, with about 1000 members; principal place of meeting, Opfenbach. 4. The German Vocal Association, with Vereine from the two Hesses, Nassau, and Wetzlar; principal place of meeting, Giessen. 5. The Odenwalder Vocal Association in the Hessian province of Starkenburg, thirteen Vereine and about 400 members.
III. Bavarian Palatinate.—The Vocal Association of the Palatinate comprises forty-five Vocal Associations and about 1,350 members; principal place of meeting, Speyer.
IV. Nahe and Moselle district.—The Nahe Vocal Association, with twenty-three Vereine and 500 members.
V. Lower Saxony. — The Union of the North German Liedertafeln comprises thirty-one Vereine, with nearly 1000 members, from the country between Ems and Elbe (Liedertafeln of Hanover, Brunswick, Prussia, Lippe, Waldeck, Oldenburg, Westphalia, and Bremen). The place of meeting is not fixed. In 1862 it is Hanover.
VI. Schleswiy-Holslein, hubeek, and Hamburgh.—The North German Siingerbund (principal place of meeting, Liibeck) is progressing every day. With it is united the Hamburgh Liedertafel. A Holstein Siingerbund is established. With regard to German song in the Duchy of Schleswig, there are Vocal Associations in many of the towns; but they are not allowed to sing political compositions. Anything like cooperation is out of tha question. All the Associations are under the surveillance of the Danish police.
VII. Mecklenburg.—The Mecklenburg Siingerbund comprises fifteen Vereine, with about 400 members. The business is always transacted by that Verein which holds the "Bundesfest." In 1862 it is Rostock.
VIII. Prussian Saxony. — 1. In the province of Saxony there was founded, in 1846, thanks to the exertion of Herr Ritter, cathedral organist at Merseburg, the Sangerbund an der Saale, with varying place of meeting (till 1864 it will be Halle). It reckons about 250 members. 2. The United Mannergesang-Vereine of Madgeburg. These consist of fourteen Vereine, with about 500 members.
IX. Saxony.—1. The General Dresden Siingerverein comprises six minor Associations, with about 400 members. 2. In Leipsic there is an Association, called the Zolluer-Bund, comprising some twenty minor Associations. It was founded by the late Karl Zollner, and is now conducted by Herr Langer, Musical Director at the University. 3. The Erzgebirgischer Sangerbund, including forty Vereine (principal place of meeting, Meerane). 4. In Plauen, a Voigtlandischer Sangerbund is being established. 5. In Bautzen, the Same holds good of an Oberlansitzer Sangerbund.
X. Brandenburg and Pomerania.—1. 'lhe March Association comprises fifty smaller Associations, with 1,000 members. 2. The Central-Sangerbund of the March includes two divisions: that of Berlin and that of the province, with forty-four smaller Associations and^ 1,362 members. The principal place of meeting is Berlin. 3. The Stettin Liedertafel forms a Pomeranian Siingerbund.
XI. Prussia and Posen.—Provincial Vocal Festivals have been held here since 1847. There will be one at Elbing at the end of July. The German Provincial Siingerbund at Bromberg comprises nine Vereine, with 230 members.
XII. Bohemia,—National song here suffers greatly from differences of nationality and language.
XIII. Austria.—The Mannergesangverein in Vienna is about to take measures for the foundation of a Siingerbund in Lower Austria, where forty-five Vocal Associations are already in existence.
XIV. Bavaria—The Bavarian Siingerbund comprises sixty Vereine, with nearly 1000 members (Straubing, Freisingen).
XV. Baden The united Miinnergesangvereine of Baden are about 100 in number, with 2000 members (principal place of meeting, Carloruhe).
XVI. Swabia. — The Swabian Sangerbund comprises 344 Associations, with about 6,800 members (principal place of meeting, Stuttgart).
In the letters received from the most different quarters, the writers express the same wish: by an intimate league of German singers to afford a proof of their desire for the combination and union of the races of Germany. North and south, cast and west, all agree in this.
The majority of the Associations now in process of formation have sprung from the impulse for union ; according to the correspondence received, they have been founded expressly for the purpose of belonging to the grand League of the Singers of Germany.
They have all declared themselves in favour of the union of German singers, and for periodical Vocal Festivals. The formation of a German Vocal Committee to watch over the common interests of the various associations, and, also, to fix the time of the Grand German Festivals, is desired by nearly all. They are all agreed that we should call a VocalParliament to discuss this subject.
We summon, therefore, the Vocal Parliament to meet on Sunday, the 21st September, 1862, at Coburg, and, conjointly with the Coburg Siingerkranz, invite the representatives of the Vocal Associations of Germany to be present. As the resolution which will cause us to gather together was passed in Nuremberg, and as the preparatory measures were entrusted to the Swabian Siingerbund, it is but just that we South Germans should, in turn, meet our North German brothers on their own territory.
Although what has already been done lias given proof of gratifying vitality in the world of German song, there are still wanting, as it would be wrong for us to attempt to deny, many members whose absence is greatly missed; some districts are not represented, and many important Vereine have not joined the movement. We trust that the publication of the successes achieved will act as an incentive to fresh ones.
Stuttgart, 22»rf April, 1862.
IT is well known that the Royal Library, Berlin, purchased the greater part of the Beethoven relics, as far back as the year 1845. Negotiations are going on for some which were then kept back, and, among other things, private documents and letters. As we have been informed, the offer made by the proper authorities has been waiting since the commencement of the year for his Prussian Majesty's approval. Political events seem to have deferred the Royal
decision. In the conditions of the sale there is, it is said, a demand that all the private documents and correspondence shall be kept for ten years longer under lock and key, in order that no improper use may be made of them. According to report, this demand has been granted. It may, perhaps, be justified by the unpleasant experience foreigners (no less than natives) have had of some of the principal officers of the Royal Library, and by the voracity with which the legion of writers on music, and the manufacturers of romantic histories of coiilposers, fall upon such objects; in spite of this, however, it is to be hoped that an exception may be made in favour of literati seriously engaged in the search for authentic and original information—as, for instance, Herr Jahn, of Bonn, and Mr. Alexander Thayer, of Boston. It is, at all events, desirable that the whole of the Beethoven relics should be preserved in one receptacle, and consequently in the Royal Library. As a matter of course, they will there serve a better purpose than that of being kept simply to be stared at.
Her Majesty's Theatre. — The report spread abroad in the beginning of the season that a new Italian Opera, from the pen of Signor Schira, had been accepted by the Management turns out to be true. The bills of the theatre now announce that " a new and original opera of great merit, from the pen of Signor Schiro, will be forthwith put into rehearsal and produced, with new scenery, dresses, decorations, and appointments." The principal characters will be sustained by Mile. Titiens, Mile. Trebelli, M. Gassier, Signor Bettini, Mr. Santley, and Signor Giuglini.
Musical SociKTr Of London. — The Second Conversazione of the season will be held at St. James's Hall on Wednesday evening, July 2nd.
A Grand Moenino Concert, in aid of the establishment of Schools of Southern Italy, will be given on Wednesday at St. James's Hall, when, in addition to some of the most eminent Italian singers in London, the following artists will assist:—Mad. Lind Goldschmidt, Mile. Louise Michal, Mile. Titiens, Mr. Sims Reeves, M. Rubinstein, Herr Jacll, and Mr. Otto Goldschmidt.
Herr Wjlhelm Coenen, a young Butch pianist, who has been residing several years in America, has arrived in London, and will make his first appearance, at the Hanover Square Hoorns, on Tuesday morning next, Report speaks highly of his talent as a player of the Chopin and Hensclt school of pianoforte playing.
M. Stephen Heller has returned to Faris. He was heard too seldom during his brief sojourn among us.
Mlle. Liebbardt, prima ^donna at tho Imperial Opera House in Vienna, has arrived in London. She was to have sung lost night, for tho first time, at tho concert of tho Vocal Association.
Herr Nestrov, a renowned dramatic author and comedian of Austria, who for thirty years was one of the idols of the inhabitants of Vienna, has just died there. It is said that between 40,000 and 50,000 persons were assembled in the streets through which the coffin containing the mortal remains of the Austrian Aristophanes were carried.
Mr. Barnum has got the smallest baby in the world at his Museum in New York. It is a boy, eight mouths old, and weighing only twentythree ounces. The child is well formed and healthy. His hand and arm can pass through a man's finger ring.
M. CHARLES HALLE'S RECITALS. M. Halle, encouraged, no doubt, by his success lost year, has renewed his performances of Beethoven's pianoforte sonatas in an uninterrupted series. The first twelve (including the Sonata Fatctica, and the sonata, Op. 26, with the celebrated "Funeral March ") have already been given, to an attentive and admiring audience, in St. James's Hall. How Mr. Halle plays these woudcrful works it is unnecessary to say. At the Monday Popular Coucerts, at the Musical Union, and elsewhere, he has introduced so many of them, and with such unvarying success, that both to the aristocratic " few," and to the fur more heartily musical *• many," he has rendered a large number of them familiar. To play the whole set, nevertheless—from the first three, dedicated to Haydn, to the lost five or six (ending with Op. HI), which, for nearly half a century, have puzzled the great majority of pianists—and, moreover, to play them unexceptionable well, is a feat that demands especial acknowledgment and especial praise. As the "recitals" (eight in all) proceed, they become more and more interesting; and we trust, from time to time, to be able to pay tlicm that attention to which they are most unquestionably entitled. At the fourth, among other pieces, will be included the so-called "Moonlight Sonata"—a universal favourite.
The introduction of a vocal piece between each two sonatas is a very agreeable relief. At the last recital the singer was Mile. Florence Lnncia, who charmed the audience with "Lieder" by Mendelssohn and Schubert, accompanied on the pianoforte by Mr. Harold Thomas.— Times, June 9.
[Yesterday afternoon the fourth recital took place, when' M. Halle played the two sonatas, Op. 27, the Sonata Pastorale, Op. 28, and No. I, in G, of Op. 31. We shall speak in detail of these performances, which week after week increase in interest, In a future number.—Ed. M. W.]
M. THALBERG'S MATINEES.
After much too long an absence M. Tlialbcrg has rc-appcared among us—for the advantage assuredly of the art of which he is one of the most celebrated representatives, and—if we may judge by the impression created yesterday (Monday) afternoon at his first "matinee" — not less so of himself. Never was an old and eminently deserving public favourite welcomed with more genuine and unanimous enthusiasm than M. Thalberg by the large audience of amateurs, connoisseurs, and professors (including pianists innumerable) assembled on this occasion in the Hanover Square Rooms. The performance from end to end had the interest and the animation of a festival. As piece succeeded piece, and the wonderful execution of the Emperor of virtuosi, the Paganini of the piano, created more and more astonishment, the excitement grew stronger and the applause redoubled, until at the close—when the wellknown fantasia on L'Elisir d'Amore had been executed, for the first' time since M. Thalborg's last visit to this country, in M. Thalberg's own peculiar and incomparable style — it passed all bounds. A more triumphant "rentree," to employ the conventional phrase, could not possibly be imagined.
The concert was M. Thalberg, and M. Thalberg was the concert. He had no singers to relieve him, and he performed nothing but solos. So much the more to the satisfaction of his admirers, who came with no other desire than to hear him play, and to see whether there wnt any falling off (improvement was hardly to be conceived) in that singularly admirable talent which a quarter of a century ago endowed the instrument with a new voice, gave wings to the "scales," and laid open a previously undiscovered region of the key-board. What has been achieved or attempted since then, by more or less dexterous, more or less enterprising, more or less accomplished imitators, all the musical world can tell; and, on the other hand, all the musical world can attest that, though M. Thalberg has been worried and parodied as no other pianoforte-composer but Mendelssohn (who lived, of course, in another sphere) has been worried and parodied, he still, like Mendelssohn, remains himself—original, vigorous, and in his particular way unapproachable. The herd of aspiring composers can no more write like M. Thalberg than the herd of aspiring virtuosi can play like M. Thalberg. After fifty imitations of more or less ingenuity, hear one original piece from his pen, and we shall readily perceive the difference between pure gold and counterfeit. A remarkable example was brcught forward on the present occasion, in the only new composition of importance with which M. Tlialbcrg enriched his programme — a so-called Ballade (MS.), which no imitator, however ingenious, could have written—as quaint, as fascinating, and, at the same time, as thoroughly Thalbergian as anything of its kind that has been produced for years. Played to perfection, this exquisite romance — for romance would certainly be a more appropriate "ante for it — enchanted the audience to such a degree that they almost begged for it again. M. Thalberg, relentless, however—with half-a-dozen additional pieces, more or less fatiguing, before him—bowed his acknowledgments and retired. "Among the hitherto unknown compositions were some selections from the Art of Singing applied to the Piano (" A to o earn," the bacurole from Donizetti's Gianni di Calais, and a duct from Die Zauberflvte)— "transcriptions" of operatic melodies, arranged in M. Thalberg's ornate and elaborate manner, invaluable to pianists who believe that the instrument of their choice can, under skilful management, emulate the violin itself in the delivery of cantabile passages. There was also an elegant " Song without Words," which pleased all the more, from being ■—mirabile dictv! — utterly unlike Mendelssohn. In the long-renowned fantasia built upon the serenade and minuet of Don Giovanni, as in the already-mentioned Elisir d'Amore, where the capital ballad of Dulcamara plays so prominent a part, an d i n "Home, Sweet Home"(made by nn KngI ish pianist—Mad. Arabella Goddard- most familiar and popular of all), that
marvellous combination of executive brilliancy with absolute "singing" on the instrument, which M. Thalberg was the first to invent, and which he has carried out to such extraordinary perfection, were conspicuously displayed. These three performances were, indeed, as faultiest in a mechanical sense as they were poetically expressive, as surprising to the car as they were engaging to the feelings. A tone, deep, mellow, and artfully modulated, that any singer might envy | a management of detail that left the melody clear, 6onorous, and uninterruptedly rythmical, amid the most elaborate and complex figures of accompaniment; a general balance of force, and command of char 'oscuro, that showed the accomplished master in the truest and fuircst light, were one and all brought to bear with an effect in the highest degieo felicitous. Last, not least, M. Thalberg played a MS. Tarentella, one of the recent compositions of Rossini, who, when playfully signing himself "Pianist of the fourth class," probably did so with an intimate conviction that he was destined to become a pianoforte composer of the "first." Of this Tarentella, and of other pieces from the same illustrious pen, which M. Tlialbcrg promises to introduce at his matinees, we must defer speaking till another time. The German pianist gave the work of the grand old Italian master (a bagatelle for Rossini, but charming nevertheless) con amore—as though he had composed it himself—and appeared to be as much gratified by the applause it elicited as by all the flattering marks of approval bestowed upon the execution of his own "fantasies." At the termination of every performance M. Thalberg was recalled; and if the audience had been indulged in their caprice, almost every one of the nine pieces included in the programme would have had to be repeated.
The second matinie takes place on Monday.—Times.
New Royalty Theatre.— The performances at the elegant littlo Theatre in Dean Street are now entirely operatic. Mr. Elliot Galcr, the well-known tenor, having now become Manager, has engaged a very good company of artists to assist in performing operettas and minor musical pieces. The idea is excellent. A theatre set apart for tho production of Operettas is original and most promising. Why should there not he a theatre for small operas as well as large, or grand operas? Some people prefer farces to tragedies, and would rather see the Wandering Minstrel than Hamlet. Would not the same be more likely to be pleased with Once too Often than the Huguenots 1 — not that by any means we would think of comparing Mr. Glover's charming little operetta to a farce, but we would attempt to show that there is a public for small as well as great representations. Mr. Elliot Galcr. indeed, is to be applauded for his new and happily-conceived undertaking, and, judging from the favour which has attended the musical performances at the theatre from the commencement, we have no reason to doubt of the ultimate success of the enterprise.
Tho company which Mr. Elliot Gnlor has gathered round him includes Miss Fanny Reeves, Mrs. Henri Drayton, Miss Bronti, Messrs. Henri Drayton, J. Manley, Hillicr, ice. These are not celebrities, certainly, but they are equal to their work, and that is a great matter. Mrs. Henri Drayton is not unknown to tho musical world. She first appeared on the London stage, if we remember right, some years since, at Drury Lane (or St. James's) singing the leading woman's part in opera. Her voice is a high soprano, rather brilliant in quality, and sufficiently manageable. Mrs. Henri Drnytou is n thorough actress, and in this respect has few superiors on the English boards. Miss Fanny ltecves has a fine contralto, or mezzo-soprano, voice, and, like Mrs. Drayton, is a capital actress. In fact, for operettas both Indies have eminent qualifications, and Mr. Galer could hardly have suited himself better. Mr. Henri Drayton is not only a singer and actor, but a poet to boot. A piece written by him was produced at Drury Lane (or St. James's), when himself and his wife were engaged there, and its merits were amply discussed at the time. He possesses a powerful barytone voice, and has a good deal of rude energy in his acting. The second piece, The Countess, which has been set to music by Mr. E. J. Loder, is from his pen. The title of the opening piece is Blonde or Brunette? and has been written by Mr. J. P. Wooler. It belongs to the old school of intrigue, and might have been indited by Murphy, Cumberland, or Holcroft. As a comedietta wo incline to think it would be more effective than an operetta. Still there are several good musical situations, and the composer has turned them to good account. The composer is Mr. W. M. Eutz, a name by no means unknown in musical circles. For the most part the single songs, which are superabundant, are flowing and tuneful, and, if they indicate no decided originality, nor, ns things of inspiration do, strike the car the first time of hearing ns with a hammer, they itecr quite clear of commonplace, and evidence the practised musician. The operetta has now run for several weeks, and is likely to go on for as many more. The success cannot be doubted. The Countess might be denominated an operatina, or more properly operettina. It is merely a'musical dialogue between two persons; but it is spiritedly written, and the music of Mr. Ryder is animated and attractive. On the whole the performances are entitled to consideration, and Mr. Elliot Galer should be thanked for originating and presenting what may be called a new species of musical entertainment.
The Handel Festival.—The arrangements are now complete. The engagements have been made with the entire band and chorus, and the committee of the Sacred Harmonic Society—whose experience in meetings of this character is well known—state, that on no former occasion has so large an assemblage of amateurs and professors been gathered together. The instrumentalists comprise stringed instruments, of whom no less than 138 arc violoncellos and double-basses. Considerably over 100 wind instruments are employed, together with the great organ of Messrs. Gray and Davison, now receiving large additions. The chorus will number about 4,000. Leeds, Bradford, York, Huddersfield, Halifax, &c, contribute a large quota of voices, whose quality and ample training are well known. Birmingham, Norwich, Gloucester, Worcester, and Hereford, towns whose choral bodies ate regularly kept up for the services of their respective festivals, send reinforcements. Manchester, Liverpool, and other Lancashire districts help to swell the contingent; the Universities, Oxford and Cambridge, and the Royal choirs and chapels send almost all their best, while the cathedral towns are represented without exception. Both from manufacturers and other employers liberal permission has been granted to attend the coming Handel Festival. This is [doubtless owing to the International Exhibition; but, whatever the cause, the most beneficial effect will be produced. The provincial chorus will arrive in London on the afternoon of Friday, the 20th inst., and a great choral rehearsal will be held in Exeter Hall the same evening. Large, however, as the hall is, it is doubtful if it can, with the aid of the orchestra and galleries, accommodate the entire body of chorus-singers. The full rehearsal will take place at the Crystal Palace on the following day, at 11 o'clock, when the most important pieces in the programme of the three days for principal singers and full orchestra will be gone through. After the rehearsal, it display of the great fountains will be given. The great roof over the orchestra is now complete. The most gratifying marks of approbation of it have within the last week been conveyed to the chairman of the Crystal Palace Company. An eminent contractor of the International Exhibition has described it as one of the most ingenious piecesof carpentry everconstructed. Sig. Costa writes that he is " delighted with the effect produced by the organ as well as by a single instrument played in the orchestra." Also, "Much as I had anticipated from the roof, it has far exceeded my most sanguine expectations. The least sound is not only audible, but travels everywhere; and the effect that the immense orchestra will produce at the coming festival must really be wonderful." It is now clearly ascertained that the best places for hearing the music will be at some distance from the orchestra. The plans of the galleries afford most eligible positions. One of these has been reserved for the press—a more than usually large number of continental and provincial reporters being expected to be present. Preparations for the Royal and distinguished visitors have begun by the erection of a large Royal box in the centre of the gallery; two small boxes on either side of the orchestra have also been constructed with the same object. The official Book of Words will be issued on Friday morning next; in addition to the words of the oratorios and the selection, it will contain the names of all the performers, police instructions, &c. On the rehearsal day the performance will commence at 11 o'clock; on each day of the festival, at 1 o'clock.
Cremoune Gardens.—Although Mr. E. T. Smith opened his Chelsea premises on the first day of the International Exhibition, it is with the Whitsun week, and the fine weather which is its ordinary concomitant, that the Cremorne season properly commences. Then a large number of persons regard a place of out-door amusement as an absolute necessity, and, as there is no other garden in London to which more than a local reputation attaches, Cremorne would be sure to attract during the summer months, even if it were conducted with a less degree of spirit than is shown by the present manager. Far, however, from taking advantage of his monopoly, or of the vast amount of work done by Mr. Simpson, his predecessor, Mr. Smith has steadily improved his property in nearly every particular. For the ballet, always a great feature at Cremorne, a new theatre has been erected, of greatly increased dimensions, and a company is formed out of the pantomime artists of Drury-lane, the scenery having been executed by Mr. Beverley. Over the boxes that enclose the walk surrounding the platform, a tier of small but commodious supper rooms have been erected, where parties may regale themselves in the open air and contemplate the gaieties beneath, now almost redoubled by the large mirrors with which the front of the hotel is covered. The comforts of the hotel itself are materially increased, and the amusements are as varied as ever. For the admirers
of the trapeze, its graces and its perils, MM. Henri and Pfau tread, or rather fly, in the path of M Leotard, the great gymnast of last year. The Stereorama, which may be regarded as a complete exhibition in itself, is now inhabited by a lady of colour, whose hair has assumed a woolly texture ; and a giant, upwards of eight feet in height, receives visitors with singular affability. Then there are the two performing elephants from Astley's, the well-known troop of dogs and monkeys, and, as a matter of course, the indispensable display of fireworks. For those who delight neither in the wonders of art nor the freaks of nature, and who even look coldly at the diversions of the platform, there are sports of every description; and he must be hard to please, indeed, who cannot find out some entertainment at Cremorne.
Highbury Barn.—This place of amusement, to the excellent management of which, since it has passed into the hands of Mr. Giovanelli, we have already drawn attention, has several special attractions provided for the sight-seeing public of 1862. Besides the concerts, in which such vocalists as Miss Rebecca Isaacs take part, besides the opportunities for tcrpsichorcan exercise, either within doors or al fresco, Mr. E. W. Mackncy attends thrice a week; and on alternate nights the "Female Blondin" walks on a tight rope which has been stretched across the garden. The chief attraction, however, is undoubtedly the "wondrous " Leotard. Graceful as ever, he attempts even more daring feats than those which served to draw half London to the Alhambra or Cremorne. He siill has the certainty and confidence which can alone render such exhibitions pleasing; but it sends a thrill even through men who are blast as regards acrobatic affairs to see him perform some of his chief feats with one hand. This, however, he does, and does with the ease, elegance, and grace which are his peculiar characteristics. On the whole, therefore, it will be seen that there is no lack of amusement at Highbury Barn, and that some leisure hours may be passed there very pleasantly.
Now Ready, in Two Volt, with Portraits, m.
THIRTY YEARS' MUSICAL RECOLLECTIONS.
J- By Henry F. Cmohley.
"Every picture of these volume* furuUhes evidence of Mr. Chorley's re Terence for music and just appreciation of the« art, and every page offers pleasant reminiscences to the opera-goer of some thirty years' experience. No one finger of merit, or pretensions to it, no distinguished composer of the period, is without his or her portrait. The faithfulness of the latter is creditable to the limner. Whether as a contcic "' tory, a graceful series of portraits, or an anecdotic*! record, the author m gratulated on the work he has accomplished."—^/Aeiwiftn.
Hurst & BlackStt, Publishers, 13 Great Marlborough Street.
BOOSEYS' SHILLING MESSIAH, complete Vocal Score, with Accompaniment of Pianoforte cr Organ, demv 4to (size of '* Musical Cabinet"). Price is.—Boosry & Sons have much pleasure in announcing their new Edition of the "Messiah," printed from a new type, ou excellent paper, and in a form e.malty adapted for the Pianoforte or the Conceit-room. The text revised by G. F. Harris, from the celebrated Edition of Dr. Jojin Clauk. As a specimen of cheap music, this book is quite unprecedented, and it is only in anticipation of the universal patronage it will command at the approaching Handel Festival the publishers are ;ible to undertake it. Orders received bv all Booksellers and Musksellers. Post free, Is 4d. An edition in cloth boards, gilt, 2s.
Boosey & Sons. Holies Street.
pOLLARD & COLLARD'S NEW WEST-END
ESTABLISHMENT, Hi Grosvenor Street, Bond Street, win re all communications are to be addressed. Pianofortes ot all classes for Sale and Hire.
City Branch, 20' Cheauiide, U.C.
EVANS'S ENGLISH HARMONIUMS for Cottages, Schools, Drawing Kooras, Churches. Literary and other public Institutions, are made in every possible variety at prices from 6 to 140 Guineas] The Manufacturers have to announce the complete success of a New Patent Self-Acting Blowing Machine, the only self-acting blower that has ever succeeded, which may be seen in operation at Holies Street daily.
I he most distinguished living musicians, including Balfe, Sterndale Bennett, C\\ rU ani Potter. Best, Henry Smart, Ac, have testified to the extraordinary merits of Evans's Harmoniums.
See testimonials attached to Illustrated Catalogues of Harmoniums, to be had gratis of the Manufacturers,' Bobby & Chino, 24 Holies Street, London, W.
EVANS"S ENGLISH MODEL HARMONIUM, with two rows of keys, price CG Guineas in oak case, or 70 Guineas in roseaood case, combines every modern improvement. The most beautiful and varied orchestral effects can be produced upon this instrument, which possesses every gradation of tone from the greatest power to the most delicate piano pieces. The English Model Harmonium is managed with that facility which characterises all KvanVa Harmoniums, and is equally effective both in the drawing room and church.
Boosky &i Cm NO, Manutactururs, 21 Holle* Street, London, W.
EVANS'S PEDAL HARMONIUMS, with independent Pedal Heeds, can be had either with a single or double row of keys, at prices from £51 to 130 Guineas; also with the new patent self-acting blowing machine. Boosey * Chins Manufacturers, 24 Holies Street, London, W.