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imperatively called for. The fact that the new operetta to musical education always presupposes an intimate acquaintance with the be brought out on an English stage and in the English lan

historical phenomena of the art, the thanks of all true admirers of the

latter are due to the givers of these concerts for presenting to them such guage is to be supported in three out of its four principal

works, in which the first stones are supplied for rearing the edifice of the characters by German artists, makes matters worse and con- imperishable instrumental compositions afterwards written. The germs founds all reflection on the subject.

of the more modern symphony are contained in the Suite, which in variAs long as the State takes no cognizance of theatres,--and ably consists of a broadly treated introduction or overture - in all its allows managers to do as they please, the prospects for opera

essentials, more nearly related to the preludes for the organ or pianoforte

- and, furthermore, of a series of shorter movements which borrowed and the drama can never be bright and hopeful. The inter

their names from all kinds of national dance melodies, of which they ference of the legislature is not at present of great likelihood, remind aus by their rhythm and the brevity with which they are treated. and so things must remain as they are until the grievance Of these dance forms, the minuet held its place the longest in the Symcomes to the worst, and then, and not till then, the remedy phony, though even that had, at last, to make way for the modern will be acknowledged and applied. In the meanwhile Mr. | scherzo." E. T. Smith is emphatically entitled to the thanks of the | Admitting the truth of much of the foregoing, we are musical world for his extra endeavours in the cause of art. merely anxious to stipulate that Bach's compositions for At the moment when his pantomime is in full swing, and is orchestra, with all their merits, and we find a vast deal attracting all London young and old, he is about to bring out more in them, beautiful as well as ingenious, than the critic of a new musical work by one of our most eminent composers, the National Zeitung seems to admit are in no way comparand engages some of the best vocal talent available in the able to his solo instrumental works, such as the Clavier bien country to support it. Such enterprise and liberality need tempéré and others in which are found those imaginative preno comment.

ludes and fugues (to say nothing of the long allegro movements with which several of the suites commence) which

stand alone in the art, are as interesting now as if they had AT the last of Radecke's well-known concerts, it appears, been only just produced, and as surely as anything in music A by a recent letter of our correspondent from Berlin, that bear the mark of imperishability. one of J. S. Bach's suites for orchestra (in D major or B ininor, strangely enough he appears uncertain which) was performed. The orchestra in this instance consists of stringed instruments, and a flute, and whichever the suite, it must be THE Bandmaster of the 59th Regiment of Austrian Inconsiderably over a century old. Nevertheless this was its first

I fantry, Herr Zawerthal, was presented, in the year 1849, introduction to the Berlin amateurs. We allude to it merely

at Milan, with the original of the following letter of Mozart, for the sake of making our readers acquainted with a cri

| by the latter's surviving son, Carl Mozart. The letter is diticism of the work, and of Bach's instrumental (orchestral ?)

Corchestral ?) rected by Mozart to his wife, at the period of the production music generally, which has appeared in a Berlin paper*, and

of Die Zauberflöte :which, amid some questionable doctrine, contains much that

Saturday night, half-past 10 o'clock. is interesting. We translate it in extenso, omitting merely a “MY DEAREST, BEST LITTLE WIFE, superfluous preamble :

“It was with the greatest pleasure and feeling of joy that I

found your letter at home on my return from the opera. The opera, “Whenever Bach's name is mentioned, it is thought the correct thing although Saturday (on account of its being post-day) is always a bad to strike up the “Gloria' at the top of one's voice. The memory of no day, was produced before a house quite full, and with the usual applause other musician is so rankly overgrown with fine talk, simulation, and and repetitions;- it will be played again to-morrow, but the performanco false sentiment, as that of the great organist of St. Thomas's Church. I will be suspended on Monday; consequently Süssmeyer must bring Stoll As the most unreserved frankness is one of the first duties of our calling, ) over on Tuesday, when it will be again produced for the first time. I say and as sincerity is almost more important than correctness in the state for the first time, because, in all probability, it will again be played several ment of our impressions, we must, even at the risk of committing the times in succession. I have just finished a splendid piece of sturgeon sin of heresy, make up our minds to confess that we could never dis- which D, Primus (who is my faithful valet) brought me, and, as my apcover ought in Bach's instrumental creations, save an essentially histori- | petite to-day is rather large. I have sent him out again to get me, if poscal interest, and that we in nowise share, nay, that we do not even sible, something else. In the interval I continue, therefore, to write to understand, the enthusiasm manifested for them. If the composer's you. This morning I wrote so industriously that I went on until it was Cantatas and Motets belong to the immortal models of this kind of half-past one o'clock; I then ran in the greatest hurry to Hofer (in order composition, while his Suites bear altogether a præ-classical character, not to have to dine alone), and there I found the mamma as well. Di. the fact strikes us as being so far from strange, that the contrary rather | rectly after dinner I returned home, and wrote again until opera time. would be astonishing. Vocal music had already an artistic Past of Leitgeb asked me again to pass him in, and I did so. To-morrow I pass several centuries, when signs of independent existence began to be per-| in the mamma; Hofer has already given her the book to read. In her ceptible in the domain of instrumental music. Bach's orchestra was case, no doubt, we shall be able to say she sees the opera, and not she nothing more than an apparatus constituted and treated after the fashion hear's the opera. N. N. had a box to-day. N. N. manifested their adof its model, the organ. Its various component parts, instead of being probation very strongly at everything, but he, who knows everything, developed as free and characteristic individualities of tone, were employed showed so much of the Bavarian, that I could not stop, for I should have by the hand of the composer as so many separate registers ; its tongue been compelled to call him an ass. Unluckily I was in the box at the comwas bound, its onward nature fettered.

mencement of the second act, that is to say, at the grand scene. He " Bach's instrumental works bear about the same relation to Beetho- turned everything into ridicule; at first I had sufficient patience to direct ven's, that the motets and masses of the 16th century do to Bach's own his attention to certain phrases, but he turned everything into ridicule. cantatas. In them formalism chiefly predominates over idea; and in- This was too much for me-I called him Papageno, and went away. I stead of beholding pictures of feeling, inwardly and outwardly filled up do not think, however, that the idiot understood me. I went, therefore, and well defined, we see only dashing and resonant arabesques. The | into another box, in which were Flamm and his wife; with them I exlogical sequence of their development, with their inexhaustible variety perienced nothing but pleasure, and remained to the end. I then went of figure,' is, no doubt, wonderful; but we seldom escape from the up on the stage at Papageno's aria with the bells, because I felt to-day purely formal element, the proper treatment of which was, at first

| impelled to play it myself. I indulged in a joke. As Shickaneder had necesary to make the resources of music sufficiently pliable for the sub. , a wait, I struck an arpeggio; he started looked across the stage, and sequent reception of all the treasures of the mind. But, as a thorough saw me; when it came a second time- I did not repeat the action - he

stopped, and would not go on. I guessed his thoughts, and struck

another chord - he then struck the bells and said, .Shut up!"-every * The National Zeitung.

one laughed. I think that, through this joke, many persons learned for

the first time that he did not play the bells himself. By the way, you

William Evans, and Mr. David Lambert, of St. George's Chapel cannot conceive how charmingly one can hear the music in a box near Royal, Windsor, upon whom devolved the part of Elijuh. the orchestra – far better than in the gallery. Directly you return, you Mr. Howard Glover's new operetta, Once too often, announced must make the experiment.

for Thursday last, has been postponed till Monday. The cast “ Sunday morning, 7 o'clock. -- I have had an excellent night's rest,

| comprises the names of Mde. Jenny Bauer, Miss Emma Heywood, and hope that you have had the same. I greatly enjoyed my half capon, which friend Primus brought me. At ten o'clock, I go to the Piarists to

Herr Reichardt, and Herr Formes. mass, because Leitgeb told me that I can then speak to the Director. I shall, also, remain to dinner.”

MONDAY POPULAR CONCERTS. Unfortunately, a part of the letter (about twelve lines) is

| The 70th Monday Popular Concert was held, on the 13th inst., before an wanting, about half a sheet being cut away. On the second audience of nearly 2,000 persons. St. James's Hall never looked more half-page is the following postscript:

brilliant, and never was a programme of genuine music listened to with “Kiss Sophie in my name; to Süssmeyer I send a couple of good fil greater attention or applauded with greater enthusiasm. Although the lips and a fine Schopfbeutler - to Stoll, a thousand compliments. Adieu artists, vocal and instrumental, were, without exception, first-rate, there --the hour is striking - farewell! - we shall meet again!”

can be little doubt that it was the selection of pieces - the quartets and We hope that whoever has the missing part of this letter sonatas more especially -- which on this occasion, as on almost every will publish it, in order to complete the whole. Herr Zawer

previous one, attracted the crowd that filled the spacious mu-ic-room;

and this is by no means said in deterioration of the merits of the perthal informs us that the said missing part, from one margin

formers, inasmuch as, without an execution as nearly as possible irre. to the other, may be spanned by an ordinary-sized hand, and,

may be spanned by an oru mary-sized hand, and, | proachable, the compositions of the great masters would never have obin all probability, comprises about nine or twelve lines. The tained the unanimous acceptance which has been extended to them since signature is also upon it; a third of the address, however, and the first institution of the Monday Popular Concerts, in February, 1859. half the seal, were in the possession of Herr. Zawerthal at

M. Vieuxtemps being “on leave," his place is now supplied by M.

Sainton, who represents the French school of violin-playing with no less this time.

credit than his renowned contemporary represents the Belgian — and

who, moreover, is intimately conversant with the classic repertory of Mr. Howard Glover's Concert last Saturday, despite the un

chamber music. M. Sainton, an habitual resident in this country, has, favourableness of the weather, attracted an audience which not

perhaps, except from true connoisseurs, scarcely hitherto received the full

acknowledgment which is his due. He does not appear so frequently in only filled every part of St. James's Hall, but absorbed the orches

public as M. Hallé and other foreigners, who are by this time naturalised tra to such an extent as barely to leave room for the performers,

Englishmen; but his deserts are none the less remarkable for that; and of whom it might truly be said that their name was legion." To

the superb manner in which he led Spohr's quartet in E minor (No. 13), enter into a detailed analysis of the programme would be impossi the first piece in the programme, showed that, though M. Vieuxtemps ble. Suffice to say, that almost every variety of musical taste was was absent, M Sainton being present, the lovers of sterling quartetgratified. For the classical, there was a sonata of Beethoven in playing had little or nothing to complain of. No violinist renders the C minor, for pianoforte and violin, by Miss Alice Mangold and music of Spohr with more spirit, ease, and refinement, and, in choosing Mr. Ole Bull; the “Moonlight Sonata," by Mr. John Wilson ; airs the quartet in E minor, M. Sainton judiciously fixed upon a piece cal of Mozart, Handel, Haydn, &c.; while the lovers of modern music | culated in every way to exhibit to advantage the most salient charachad only one cause of complaint that so few compositions of the

teristics of his talent. The larghetto - the theme of which somewhat concert given were included in the scheme. Only three pieces of

resembles that which Beethoven has so exquisitely varied in one of the Mr. H. Glover's were introduced: the charming ballad from Ruy |

quartets, Op. 18 (in A), is as melodious and as ingeniously handled as Blas, “Could life's dark scene," sung by Mde. Guerrabella;

any similar movement of Spohr; and with this, while the entire work the rondo from the same work, “ Why for all this loving care," by

was heartily enjoyed, the audience appeared most thoroughly delighted. Mlle. Parepa, and an “allegro agitato” for pianoforte, which did

With the great French violinist, whose reception was highly fattering,

were associated the tried quartetists of these entertainments -- Herr not lose by coming in juxtaposition with Chopin's “Marche

Louis Ries, Mr. H. Webb, and Signor Piatti, second violin, viola, and funèbre,” both played, and well played, by Miss Alice Mangold.

violoncello. Thus Spohr's delicate and elaborately woven music enjoyed The “ Sisters Marchisio” gave two duets, “ Giorno d'orrore" and

every chance of appreciation; and the general feeling was — when the ap"Deb, conte," from Norma, the latter for the first time in London.

plause that greeted the performers at the end of the quartet had subBellini's duo was hardly so effective as Rossini's, the adalgisa part sided - that, if a whole programme made up of “Spohr” would sound a being, perhaps, too high for Mle. Barbara. Mr. Sims Reeves, of little monotonous on account of certain mannerisms peculiar to his style, course, was encored in “My own, my guiding star," which he, of the occasional introduction of one of his elegant and masterly composicourse, wisely resisted. Mle. Sainton - Dolby contributed a tions was indispensable. To Mozart, Beethoven, and Mendelssohncouple of songs, both sung in her usual artistic style. Mde. Laura whose invention was as inexhaustible as their genius was original - is Baxter created a decided sensation in Mr. Henry Smart's charming alone accorded the privilege of keeping the attention of a crowded assong, “ The Fairy's Whisper." For solo violinists there were

sembly alive from one end to another of a concert devoted exclusively to Messrs. Vieuxtemps, Sainton, and Ole Bull, each of whom de- /

their compositions. lighted the audience after his manner. Signor Belletti sang the

It was not only the first appearance of M. Sainton, but that also of scena “Sorgete," from Maometto, one of the most artistic per

Signor Piatti, whose post, as accredited violoncellist to the Monday formances of the concert. Mlle. Georgi, Mde. Nita Norrie,

Popular Concerts, has from the commencement of the present season Miss Eliza Horder (a talented and promising pupil of Mr. Howard

been so worthily filled by M. Paque. That on such an occasion the

“ Prince of Violoncellists" should be allowed a special opportunity of Glover), Miss Stabbach, Mde. Weiss, Miss Emma Heywood,

display was both natural and fair. Consequently, in addition to the Mrs. Merist, Mlle. Florence Lancia, Miss Hannah Hiles (a

quartet, a grand duet, with pianoforte, was set down for him. This was débutante who made a favourable impression), Signor Ciampi, the earliest of the five sonatas for pianoforte and violoncello composed Herr Reichardt, Messrs. Weiss, Lazarus, Ashton Swift, Brinley | by Beethoven - the one in F major, Op. 5, first essayed in 1797, by Richards, &c., all rendered efficient service and gratiñed their Beethoven himself and M. Duport, a celebrated French violoncellist hearers ; the post of conductor being in turn filled by the bénéfi of the day, at the Court of the King of Prussia. What was the royal ciare, Messrs. Benedict, Ganz, and Lindsay Sloper.

present to M. Duport is not on record, but Beethoven is said to have Mr. Carter's CuorAL CLASSES.---(From a Correspondent.)

received from the King's own hands “a gold snuff-box filled not with

snuff, but with louis d'ors," a snuff-box which- as Beethoven afterwards The members of these classes gave a performance of Mendelssohn's

used to tell the story, with a satisfaction wholly at variance with his Elijah, on Friday last, at St. Luke's Schools, Chelsea. The manner

notorious contempt for such things—“was not an ordinary snuff-box, in which the choruses were given, especially “Thanks b; to God," |

but one of the same kind which it was the custom to present to ambasreflected credit on every member, and on Mr. Carter, their con- sadors." This from the man who, subsequently, at Vienna, walking ductor, and bis brother, Mr. G. Carter, formerly organist at St. | side by side with Goethe, when the author of Faust uncovered his head Luke's, now at Montreal Cathedral, Canada. The solos were as the Imperial carriage went by, disdainfully buttoned up his coat, and sung by Miss De Courcey, R.A.M., Miss Marian Wheatley, Mr. | left his illustrious companion to play the courtier alone, may require an explanation, which those who care to know why Beethoven did so-and-, cipally intended, to secure its success in a pecuniary point of view. so, and why Beethoven did not so-and-so, must seek elsewhere than in a Six performances, therefore, only were contemplated in 1859, when the report of a musical concert. Happily Beethoven's sonatas may pass idea was first conceived. So instantaneous and unequivocal, however, without question, on the unaided strength of their own beauty ; and was the popularity which the concerts achieved, that instead of six, had the man been twice as eccentric and twice as inconsistent, the thirteen were given during the first season, twenty-seven in the second, musician-neither one nor the other would always find ready sym- and twenty-four in the third. Nearly all the chamber music of the pathy. True, in these early violoncello sonatas, and in other works of greatest masters has thus been brought before the public in the course the kind, we detect sufficient traces of obligation on the part of their of the sixty or seventy concerts which have been given, and that, too, composer to justify us in suggesting that if, at this period, Beethoven with a perfection of execution which has satisfied the most fastidious bad seen Haydn and Mozart pass in a carriage, gratitude, if nothing and highly-educated connoisseurs. Besides this-and it ought perhaps else, would have induced him to salute them-“ Emperors" of Harmony, to be reckoned quite as great a service to musical interests-many works as, in his youth, they undoubtedly were -“hat in hand." For the l of merit have been rescued from the oblivion into which they had of late manner in which the Sonata in F major was played by M. Hallé and years sunk. The works of Handel, Dussek, Cherubini, Schubert, Siguor Piatti no praise would be excessive. The audience were evi- | Hummel, Steibelt, Woelfl, Clementi, and a host of others which could dently persuaded that they had listened to a performance little short of be mentioned, contain numerous beauties which it only required enterfaultless, and recalled both pianist and violoncellist to the orchestra prise and judgment to make appreciated ; and although most of these with “ acclamations."

yield, of course, to the superior greatness of Haydn, Mozart, Beethoven, The solo pianoforte piece (introduced-like Spohr's quartet-for the Mendelsshon, the acknowledged masters of composition for the chamber, first time) was Beethoven's sonata, entitled Les Adieux, l'Absence, et le they are, if for no other purpose, extremely valuable as affording a Retour (Op. 81). Beethoven was not addicted to giving fantastic titles standard by which these great men can be juilged and criticised. A to his compositions, and indeed very rarely gave them any names at all.most commendable judgment, again, has been shown in not introducing But in this instance his idea is made so clear, and developed throughout too many of these novelties and revivals, and particularly as no small in a spirit of such consummate poetry, that none can reasonably quarrel part of the work of the undertaking has been to educate its audience with him. Had there been nothing else but the two examples of | by degrees ; and therefore the largest share of the performances has Beethoven in the programme-of Beethoven wholly under the influence been devoted to the most perfect models of composition. In assertof Mozart, and of Beethoven in his maturity, the most independent and ing that this point has really been attained, we shall be borne out truly original of all musicians (Bach not excepted)-the concert would by every one who has witnessed the almost fanatical attention with have been both instructive and interesting. The Sonata in E flat is not which cach piece is received, however abstruse its character may merely a masterpiece in an abstract musical sense, but a poem of be. In this respect, it is the shiliing audience which is the most profound and exquisite beauty. No composer but Beethoven has pro- | remarkable ; and this is a fact which speaks most significantly duced such works as this, and some others like it-works in which both to the incrcased cultivation of music in general, and to the music is made to speak a language so eloquent and convincing that it effect which these concerts have produced upon the middle and would be superfluous attempting to translate it into words. An essay lower classes in respect of that cultivation. The secret of these might be written about this sonata, and still much be left unsaid. Our successful results lies in the fact that none but executants of the readers, however,-to the great number of whom, no doubt, it is more very highest excellence have been engaged; and it has thus been or less familiar-must be satisfied to know that M. Hallé made it at fully proved that perfection of execution will always secure, first, once intelligible and acceptable to the crowded audience of Monday attention, and, finally, appreciation for works of real merit, hownight, who listened to his performance with unabated interest, and ever difficult of comprehension. The most preeminent names of the summoned him with enthusiasm at the conclusion. The last instru staff have been those of Arabella Goddard, Hallé, Joachim, Sainton, mental piece_Haydn's lively and animated trio in G. for piano, violin. Vieuxtemps, Becker, and Piatti; but every subordinate department has and violoncello-played to perfection by MM. Hallé, Sainton, and been filled in a style which has done justice to the merits of these great Piatti, brought the entertainment to an end with the best possible effect. I performers. Of the two first-mentioned, it is not too much to say that Very few left before this began, and those who remained had good they have done far more for classical pianoforte music than any of their reason to be satisfied. The enlivening finale, “ull Ongarese," inust professional brethren who could be named, and for their admirable have sent every one home in high spirits.

readings of Beethoven's Sonatas in particular, they deserve the thanks The vocal music was more than usually attractive. Mad. Sainton- of all who believe, as we do, that they are by far the greatest works Dolby made her first appearance at these concerts for more than a | ever written for the instrument. twelvemonth, equally impressing her hearers with her admirably “During the last season of the Monday Popular Concerts, and so far classical delivery of the grand air from Gluck's Alceste, “ Divinités du as we have proceeded in this, M. Vieuxtemps has contributed the chief Styx”—which breathes the very spirit of Euripides (and must have attraction in respect of violin playing. His engagement, however, has abashed and astonished the “ Piccinists")an i with her unaffected now terminated, and a break thus occurring before the recommencereading of Mr. Vincent Wallace's “ Fire-side Song” (words by Mr. ment of the concerts after Christmas, we have thought it a suitable Chorley), a model ballad in its way. The last was acknowledged by opportunity for passing briefly in review the good work these musical a general demand for repetition, with which the accomplished “con Monday evenings have been doing. tralto " good-naturedly complied. The other singer was the steadily “ The programıne of the latest of these performances was devoted to progressing Miss Banks, who, in Dussek's delicious canzonet, “Name the compositions of various masters. A quartet of Krommer's, intro. the glad day" (one of the most valuable “revivals ” of the Monday duced for the first time at the suggestion of M. Vieuxtemps, opened Popular Concerts), and Mr. Macfarren's graceful ballad, “Never the concert, and was a very interesting feature of the programme, as the forget," fully maintained the reputation she has so legitimately production of an author of whom now so little is known, although to acquired, being recalled after the canzonet, and deservedly applauded in ihe violin players of thirty years ago his works were familiar enough. the ballad. Mr. Benedict, as usual, accompanied the vocal music. Perhaps, however, it was more interesting than attractive. The music

is good without dispute, and betokens constructive skill of a very high

order; but there is the something wanting without which it could never (From the Saturday Review, of Jan. 4th, 1862.)

take place by the side of Hadyn's fresh and genial inspirations, to

which in style it is not dissimilar. The Adagio in E flat major struck “The Monday Popular Concerts still retain their hold upon the favoor os as the pleasantest movement, in which the subject—which is not of the public. Their merits are indeed now so universally recognised, without considerable grace and sentiment, and is given to each perconcert after concert of such acknowledged excellence being offered to former in turn, commencing with the violoncello-affords considerable their patrons, that it would be waste of time to chronicle their praises, scope for expressive playing. The Minuet and Trio, and the final except at occasional opportunities when we wish to show that we are Rondo are pointed and brilliant, and so far were favourable for the fully alive to the really good work which these entertainments are doing display of M. Vieuxtemp's powers; but they do not rise to the level of in advancing the highest interests of music. It is, in fact, difficult to the great masters. . over-estimate the significance and importance to the musical world, “Omitting for the present any mention of the singing, we pass on to both professional and amateur, of the success of an undertaking of this the most striking feature of the evening -- the wonderful performance kind. It has now stood the test of a trial of four seasons, during which by Miss Arabella Goddard of Beethoven's latest Sonata, Op. 3, in C its popularity, so far from having flagged, has been constantly upon the minor. To give any idea of this extraordinary work on paper is imposincrease. The original scheme was essentially of a tentative character, sible, and we can do little more than express our admiration of the com and it was very fairly doubted whether a sufficient audience could be position itself, and of the fruitless style in which it was executed. The brought together from the classes for which the performances were prin- difficulties are of such a nature as to require the very highest powers to

· Provincial.

make it attractive, or indeed intelligible, and, in fact, put it almost en cloak-rooms, each supplied with lavatories, &c. There are four rooms tirely out of the reach of amateurs; but in the hands of Miss Arabella for the accommodation of performers, cach being fitted up with every Goddard it becomes one of the most intellectual musical treats we have convenience. The exterior of the building is bold, and richly interever been fortunate enough to enjoy. The enjoyment is much increased spersed with carvings in medallions and on the keystones. One approto amateurs by the excellent detailed analysis of the work which is given priate feature is that the medallions, &c., are cut with busts of some of in the programme-a plan which, we are glad to hear, is to be followed the most eminent musical composers - Handel, Mozart, Meridelssohn, at each concert for the future. Mendelssohn's D minor trio can never Beethoven, and Donizetti being amongst the number. The building fail to charm. Familiar as it is to every connoisseur, there is no com is warmed by an apparatus on Dr. Arnott's principle, supplied by Mr. position of the kind we know of which is descrvedly so popular. The Gibbs, of Lime Street, and the decorations are the work of Mr. Dawson, other instrumental piece was the magnificent Septuor of Beethoven, given of this town. The furnisbings and upholstery, all of a superior descrip. by desire for the second time this season. We cannot leave this work tion, were supplied by Messrs. George Woods & Co., of Bold Street. without a word of praise to the admirable clarionet playing of Mr. L'la | The design of the new building was selected out of 16 competitors, and zarus, and to Mr. Harper for his execution of the various horn solos, and | the architect was restricted to the sum of 40001., which included specially of that notoriously difficult passage in the first trio. In spite | the lighting and heating, the decorations, &c. Mr. Walter Scott, of of the great length of the composition (which occupies three quarters of Liverpool and Birkenhead, was the architect, and Mr. John Hogarth, of an hour), it was listened to throughout with the most 'scrupulous at Rock Ferry, the builder. The ball was a complete success. The tention."

company numbered about 400, and included the élite of Birkenhead and neighbourhood."

From our own Correspondent we learn the following particulars of the Philharmonic Society, and other interesting matters :

“ The annual meeting of this society was held at the Liverpool Cotton

Sales Room, Mr. J. B. Brancher, the chairman of the committee, preAr Mr. Halle's last concert in Free Trade Hall, Mozart's G siding. Mr. Henry Sudlow, the secretary, read the usual report and minor symphony, andante from Spohr's Wiehe der Töne, and the statements of accounts. The meeting passed off quietly and pleasantly, overtures to Masaniello and Otello were the orchestra pieces — all and the committee was re-appointed.” admirably played by the band, according to The Manchester Guar The Concert of Tue ORPHAN Boys' Asylum was given on dian. The other instrumental pieces were Beethoven's Quintet in Tuesday evening at the Liverpool Philharmonic Hall, under the E flat for Pianoforte, Oboe, Clarinet, Horn, and Bassoon — per patronage of the Mayor of Liverpool, with a large number of formed by Messrs. Charles Hallé, Lavigne, Pollard, Grieben, and lady patronesses. The performers consisted of the orphan boys' Raspi, heard for the first time in Manchester, and, as might be im- 1 band, under the direction of Mr. Palgrave Simpson; a considerable agined, the beauty of the music and the excellence of the players portion of the chorus of the Philharmonic Society, conducted by considered, affording unqualified delight to the audience. The Mr. Herrmann; and the Misses, Master, and Mr. Armstrong, and andante, with variations from the same composers. Grand Septet, Mr. Edward Foulkes. Several songs, &c., were sung in good arranged for the whole orchestra, was, however interesting, in less style by the latter vocalists, who were accompanied on the pianoclassical taste. Mr. Hallé's pianoforte solos comprised a selection forte by Mr. George Hirst. The part-songs sung by the choir of from Stephen Heller's Promenades d'un Solitaire, and his familiar the society were given in á tasteful and agreeable manner. The piece on Schubert's Forelle (Trout), of which performance and the most interesting section of the entertainment was the performance remainder of the concert The Guardian speaks as follows : 1 of the boys' band, of which we cannot speak in too flattering

“ Mr. Hallé's pianoforte solo had the usual reception --- enthusiastic | terms. The precision, spirit, and attention to “light and shade" plaudits, only to be quelled by an additional performance ; and very exhibited were astonishing. The instrumental performance did enthusiastically received also was M. de Jong's elegant flute solo on infinite credit to the little fellows and their instructor, who, in spite airs from Lucrezia. Signora Guerrabella, the vocalist of the evening, of his arduous duties as a partner in one of the principal legal made her first appearance in Manchester. Her voicc is a pure soprano, firms of the town, has found time not only to score all the music, of extensive range, considerable power, flexible, and evidently cultivated but to drill and instruct his juvenile band to a pitch of excellence in a high degree. A romanza from N Trovatore was her best effort, almost unparalleled. In the course of the evening, four little fellows, though her performance of Bel Raggio, the Bolero from the Vépres none of whom were nine years of age, played a military quartette Siciliennes, and a ballad from Maritana (“Scenes that are brightest"), on side drums, which elicited a perfect hurricane of applause. each and all proclaimed an artist of more than average talent. We understand she is an American. If so, we hope that brother Jonathan, now good friends with us, will send us a few more equally good singers."

The subjoined account of the opening of a new Music Hall at Birkenhead is from the Liverpool Mercury of the 16th :

CHRISTMAS PUBLICATIONS. • The opening of the splendid new Music Hall erected at the corner of Claughton Road and Atherton Street, Birkenhead, took place last

DOOSEY'S CHRISTMAS ANNUAL of DANCE evening, under most auspicious circumstances. The event was cele

MUSIC for 1862. Price 1s.; or splendidly bound, gilt edges, 28. 6d. brated by a ball, the proceeds of which, through the liberality and spirit of the directors, were appropriated to the funds of the Birkenhead

OOSEY'S SIX CHRISTMAS or AFTER-DINNER Hospital. The new Music Hall has a frontage to Claughton Road of SONGS. Price 6d. 52 feet, and to Atherton Street of 112 feet, and has a very imposing

OOSEY'S SIX CHRISTMAS CAROLS, for four appearance. There are four principal entrances — two to Claughton

Voices and Pianoforte. Price 6d. Road, one to Atherton Street, and one for the musicians, officials, &c.— OOSEY'S 250 CHANTS, Single and Double. Price communicating with the different parts of the building. A covered

1..; cloth, gilt edges, 2s. porch, approached by a bold flight of steps, leads to a vestibule on

OOSEY'S 50 PSALM and HYMN TUNES, for four either side communicating with the entrance hall and grand staircase,

voices, with the Rev. W. J. Hall's words. Price Sixpence. the latter consisting of a double flight, elaborately got up, the banisters

DOOSEY and SONS' NEW JUVENILE SERIES. being of iron, of a beautiful pattern, with the monogram B. M. H.'

D Price One Shilling each, in fancy covers, or Two Shillings each in extra cloth interlaced in the foliage. These lead to the upper hall or ante-room

gilt letters and edges ; forming most beautiful and suitable presents for the approachleading to the great hall, which is approached by two magnificent doors, ing season.

1. THE GOLDEN WREATH, containing 28 Songs, with original Words, adapted of a great height, richly worked. The great ball, which is decorated

to popular melodies. in an exceedingly chaste and elegant manner, and is lighted by three 2. THE JUVENILE PIANOFORTE ALBUM, containing 24.Pieces and Dances sun burners of 63 lights each, is 75 feet long (exclusive of the orchestra), | by modern composers.

3. THE CLASSICAL PIANOFORTE ALBUM, containing 30 Classical Compo. 48 feet wide, and 40 feet in height. The orchestra is raised, and will

sitions by the great Masters. accommodate 50 of a chorus and 35 musicians, in addition to the pianist and principal singers in front. Midway in the entrance hall is a lofty and wide corridor leading to the supper room, which is 48 feet by 30

LONDON : feet, and of proportionate height. On either side of the corridor are

BOOSEY & SONS, HOLLES STREET.

BOOSEY AND SONS'

Ditto

MESSRS. CRAMER, BEALE AND WOOD'S CHAPPELL & CO.'S NEW PUBLICATIONS.

NEW MUSICAL PUBLICATIONS. TELLER, STEPHEN. Deuxième Canzonette. Price 4s.

Cramer, Brale and Wood, 201 Regent Street, W. NAPOLEON, ARTHUR. Andante Finale, from Lucia di Lammermoor, Op. 2. Price 3s. 60.

CHAPPELL AND CO.'S NEW MUSICAL ALBUMS. CRAMER, BEALE and Wood, 201 Regent Street, W.

In volumes, beautifully bound in various coloured cloths, with gold APOLEON, A. Grand Galop de Concert. Price 4s.

letters and gilt edges, price 4s. each. Cramer, Beals and Wood, 201 Regent Street, W. NAPOLEON, A. Un Ballo in Maschera, Grand Fan

tasia. Price 4s.
CRAMER, Beale and Wood, 201 Regent Street, W.
CALLCOTT, J. G. Perpetual Motion Galop. Price 3s.

CHAPPELL'S ENGLISH BALLAD ALBUM,
Autumn Leaves, Nocturne. Price 3s,
CRAMER, Beale and Wood, 201 Regent Street, W.

Containing 36 Songs by Balfe, Wallace, Barker, Glover, Linley, Lover,

Walter Maynard, and other popular Composers, all with Pianoforte
DE VOS, P. Il mio tesoro,' from Don Giovanni. Accompaniments.
Price 39.

Price 48. bound and gilt edges.
CRAMER, Beale and Wood, 201 Regent Street, W.

In this Album will be found many of the most popular Ballads of these AVARGER, R. - Pas Redoublé. Price 38.

favourite composers. T Ditto

Morro ma Prima in Grazia, from Un Ballo.

Price 3s. Gd.
CRAMER, Beale and Woon, 201 Regent Street, W.
VALLCOTT, W. H. Simon Boccanegra. Favourite CHAPPELL'S FIRST ALBUM DE DANSE

Airs, in two Books. Solos, 5s. : Duets 6s.
CRAMER, BEALE and Wood, 201 Regent Street, W.

For the Pianoforte ; containing 10 sets Quadrilles, 50 Valses, 40

Polkas, chiefly by Charles D'Albert.
DANCE MUSIC.

Price 4s. bound, with gilt edges.
PUCALOSSI, PROCIDA. . Sweet Violets’ Waltzes

(illustrated). Price 4s.
Ditto Flowers of the Valley Waltzes, illustrated. Price 4s.
Ditto
Merrie England Waltzes

do. Price 4s.
Ditto Water Lily Waltzes,

do. Price 4s.

CHAPPELL'S SECOND ALBUM DE DANSE Ditto Crown of Roses' Polka,

do. Price 3s. Ditto Regatta Galop,

do. Price 3s.
Ditto Gipsy Polka Mazurka,

do.
Price 3s,

For the Pianoforte; containing Quadrilles, Valses, Polkas, Galops,
Ditto Midnight Galop,

do. Price 3s.

Schottisches, Varsovianas, Polkas, Mazurkas, Redowas, and French CRAMER, Beale and Wood, 201 Regent Street, W.

Country Dances.
COOTE, CHARLES. • Carolina Polka (illustrated).

Price 4s. bound, with gilt edges.
Price 3s,

N. B.-_. The two Albums de Danse comprise a complete collection of Ditto

Simon Boccanegra Quadrilles, Illustrated. Price 4s.
Ditto
Un Ballo in Maschera Quadrilles, do Price As.

all Music requisite for the Ball-room.
CRAMER, Beale and WOOD, 201, Regent Street, W.
STANLEY, G. Summer Rambles Waltzes. Price 4s.
Ditto. Prairie Flower Waltzes (illustrated). Price 4s.

CHAPPELL'S CHRISTY MINSTREL ALBUM,
CRAMER BEALE and WooD, 201 Regent Street, W.
CROAL, G. Old England Quadrille (illustrated).

Containing 52 Songs, with Choruses and Pianoforte Accompaniment. Price 4s.

N.B. This collection alone contains various popular Songs, including CRAMER, Beale and Wood, 201 Regent Street, W.

“I'm leaving thee in sorrow, Annie," “ Friends of my Youth," " I'm

returning to thee, Annie,” “Rosaline,” &c. VOCAL MUSIC.

Price 4s, bound, with gilt edges.
AMMA WON'T BRING ME OUT. Sung by Mrs.

G. REED, composed by T. GERMAN REED (illustrated). Price 3s.
I NEVER DOES NOTHING AT ALL. Sung by Mrs. G. Reen, composed by
GERMAN REED (illustrated). Price 3s.

CHAPPELL’S SACRED VOCAL ALBUM CRAMER, BEALE and Wood, 201 Regent Street. 0 THOU TO WHOM MY LOVE IS ALL MY CARE. | Contains 36 Songs and Duets, by Handel, Barnett, Glover, the Hon

Mrs. Norton, Smart, Abt, Moore, Marcello, &c.
Sung by Mr. WALTER BOLTON, composed by E. LAN), Price 2s. 6d.
CRAMER, BEALE and WOOD, 201 Regent Street.

Price 4s. bound, with gilt edges.
PRIGHTLY O'ER LAND AND OCEAN. Song.

Words by G. Linley, Music by VERDI. Price 2s.6d.
ONLY FOR THEE. Song. Sung by Mlle. ParePA, Words by G. Linley. Price

CHAPPELL'S ITALIAN SONG BOOK,
Cramer, Beals and Wood, 201 Regent Street, w.

Containing 32 Italian and German Songs, by Verdi, Mozart, Flotow, T'LL TELL YOU WHY I'D LIKE TO BE A ROSE. Schubert, &c., all with English as well as the original Words, and Song. H. SMART. Price 28. 6d.

Pianoforte Accompaniments.
TELL ME, SWEET ZEPHYR. Song. H. SMART. Price 2s. 6d.
CRAMEE, Beale and Wood, 201 Regent Street, W.

Price 4s. bound, with gilt edges.
MIORNO D'ORRORE. Duet Semirami'le, as sung by

the Sisters MARCHISIO (illustrated). Price 2s.6d.
LE ZINGARELLA. Duet. Composed expressly for the Sisters Marchisio.

BILETTA. Price 3s.
LONDON:

LONDON:
CRAMER, BEALE & WOOD, 201 REGENT STREET, W.,
AND 67 CONDUIT STREET; ALSO, 207–209 REGENT STREET.

CHAPPELL AND CO., 50 NEW BOND STREET.

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2s. 60.

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