« ElőzőTovább »
MUSIC IN BERLIN.
collected an admirable band, which he brought to such a state of per
fection, that it was, at last, able to transpose at sight into any key that (From our own Correspondent.)
might be desired. In this band were such artists as the late Saint In the way of novelty I have nothing to record, except it be that, instead
Lubin, leader and first violin ; Julius Rietz, violoncellist, now conof a hot July sun, we are favoured with a combination of cold and wet,
|ductor at the Theatre Royal, Dresden ; and Urbaneck, first violin, now which would not be out of place in November. I am not aware,
leader at the Victoria Theatre, A friend of mine informs me that however, that theatrical managers here complain of this strange,
he was once present at a representation of Donizetti's Belisario, when anomalous, and disagre able state of the weather, for it fills their
the barytone part of Belisario was supported by Herr von Kaler, theatres to overflowing. The Theatres Royal are, of course, closed.
a bass; the tenor part of Alamiro, by Herr Eicke, a high barytone ; It they had been open, I believe the heat would have been fearfully
and the soprano part of Antonina, by Amalie Hähnel, a contralto, oppressive, just as firmly as I share the popular credence in England,
so that nearly the whole opera had been transposed a third lower that, whenever any grand review or sham fight of our gallant Volunteers
than Donizetii composed it. As classical opera was not then allowed is announced, every individual who goes out without an overcoat and
to be represented at the old Königstädtisches Theater, the energy of an umbrella ought instantly to be regarded as a maniac, and his
the management was devoted to the productions of France and Italy ; property, it he possess any, immediately be managed by his next of kin.
and just as that management had been the first to introduce to public “ Make hay while the sun shines” is a very good proverb for furmers
notice Rossini's operas, and the earlier efforts of Auber, with Henriette and other persons engaged in pursuits agricultural, bucolic, and generally
Sontag, Jäger, Wächter, and Spitzeder, it was subsequently the first to rustic. As these individuals desire as large a quantity of hay as
produce Bellini's Norma, I Montecchi, e Capuletti, Il Pirata, Beatrice di possible, it is not extraordinary that they should take as much interest
Tenda, Lu Straniera, 1 Puritani, &c., as well as the works of Doni. in Phæbus Apollo as the most fanatic Guebres who ever prostrated
zetti, who was then beginning to achieve a reputation. Of the members themselves before their god, as he rose upon the hills and plains of
of the company at this period, one only is still on the stage; that Persia. But theatrical managers do not want to make hay. Their wish
one is Herr Fritz Beckinann, now at the Hofburgtheater, Vienna. He is to make money; and as they can effect this agreeable process much
was the original Vater Renner, in Des Adler's Horst. Amalie Hähnel, the more successfully in a wet, drizzling suminer than in a fine one, it is very
first representative of Rose, in the same opera, went, when the Königstadt natural that the soaking rain which fills the farmer's heart with dismay,
company was broken up, to the Theatre Royal, but she did not find ihe should render their's undisguisedly hilarious. Nor are theatrical
latter a fit scene for her peculiar talent, and died, several years ago, in managers the only persons partial to wet weather. What would the
Vienna. Mlle. Livia Gerhardt, who was also a charming Rise, married crossing-sweeper do without a due supply of mud, and whence is he to
Dr. Frege, of Leipsic. Herr Fischer-Richard-afterwards became, obtain mud unless there be rain? Then, again, are not omnibus-pro.
like Amalie Hähnel, a member of the Theatre Royal and is at present, prietors, cab-owners, umbrella-makers, - water-proofers, and a whole
living, in the enjoyment of a pension, at Potsdam. Herr Holzmiller, a host of other persons too numerous to mention, almost as much
fine man, with a magnificent tenor voice, who was a great favourite, indebted to Aquarius for a goodly portion of their incomes as the
went to Hanover, where, I believe, he still resides, as a private gentlePasha of Egypt is to the annual rise of the Nile for the replenishment
man. Mlle. Beckär, – Marie -- who married him, died in the above of his cxchequer ? Truly has it been observed, that what is one
capital. A previous representative of the same part, Mlle. Dickmann, man's meat is another man's poison, and with equal veracity may it be
a native of Berlin, and pupil of the late celebrated Rellstab, is now the asserted that what is one man's poison is another man's meat. Yes;
wite of Herr Seidelmann, conductor at the Breslau Theatre, Adele while the agricultural interest is dunner wettering at an awful rate,
Beckmann - Veronica -- has also retired from the stage, and resides and proprietors of coffee houses, with gardens in the suburbs tewinó with her husband in Vienna. Herr Greiner - Cassian -- dicd. last their hair from sheer desperation, the Berlin managers are in the seventh
February, at Aix-la-Chapelle, where he was the manager of the heaven of delight at the Friedrich-Wilhelmstadt Theatre. M. et Mad.
theatre. A subsequent representative of the part, llerr Ferdinand Denis have proved a great hit. At the Vicioria Theatre, the attraction
Voss, a highly gifted singer and actor, from whom great things were is Golinelli's Ballet Troupe, at the head of which is the elegant and
expected, enjoyed, I regret to say, but a short career on the stage. His accomplished Claudine Couqui, whose performances have already been
powers declined in consequence of an irregular mode of life, and he honoured on several occasions by the presence of His Majesty the King,
now supports himself by singing in the tap-rooins of Berlin. Herr and various other members of the Royal Family. At Wallner's
Cläpins - Lazarus — is now a teacher of music. The company I Theatre, a piece called Der Goldonkel is enjoying a highly successful
have just enumerated was followed by one far less satisfactory, which
was the first to give C. Kreutzer's Nachtlager in Granada, and run, while the two smaller theatres, namely, Callenbach's and Meysel's,
Donizetti's Lucia di Lammermoor, then new to the public. The only are doing good bus', - to adopt for once the argot employed any day in the week by close-shaven men, with very shiny, and, sometimes,
artist of repute in the entire troupe was Herr Erl, who is still engaged very greasy hacs, who seem to live on the pavement of Bow Street,
as tenor at the Imperial Opera House, Vienna. Another and far Covent Garden — with short farces, considerably broader than they are
superior company was, however, soon formed, thanks to Herr Gläser. long.
Herr Erl was retained as first tenor. Among the other members, I may At Kroll's Theatre, the revival of Des Adler's Horst has proved a small
mention Herr Schrader — the present proprietor of the Brandenburg mine of gold to the management. Des Adler's Horst is one of those
Hotel – who was engaged as “ lyric tenor ;” Herr Oberhotfer, baryworks which seem to have become part and parcel of the German people.
tone, now at the Carlsruhe Theatre ; Herr von Kaler, bass, and Mlle.
Elines, prima donna. This lady possessed a charnuing voice, admirably Some of its melodies are as firmly rooted in their hearts as “ The British Grenadiers," or " The Girl I left behind me," is in those of our own
trained, and was equally good in German, Fre.ch and Italian Opera.
She married Captain Flies, and is the mother of the talented young population. It was first produced, about thirty years ago, at the old
| artist, Mlle. Bertha Flies, who made so successful a début, some two Königstädtisches Theater, and ran for a great number of nights. By
years since, at the Royal Opera House here, and is now winning golden the way, as I have not much to tell you to-day about the Present, I
opinions from the public of Breslau, by her impersonation of Gretchen may as well have a chat about the Past, and give you a few more details
| in M. Gounod's Faust. The company consisteil, at first, by the way, abuut the above opera and the above theatre. The author of the libretto cf the Adler's Horst was Herr Carl von Haltei, who enjoyed a fair literary
of Austrians exclusively, and I have been informed that, when the
Prussian national song, composed by Franz Gläser, was first executed reputation in his time. The composer of the music was Herr Franz Gläser, conductor at the theatre in question. He was not only an accomplished
on the birthday of the late Friedrich William III, the ettect was most musician, but a man of great practical experience in all that related to
ludicrous. Fancy the members of the company all and cach singing,
first solo, and then in unison -the stage. He was, moreover, animated by a rare feeling of devotion to the interests of the establishment of which he was a member. His durius
" Dann ruil ich stoltz, ihm Zugewandt:
Mein Vaterland ist Preussen," were not restricted to those generally performed by a conductor, but he had, in addition, to arrange every work produced, so as to suit the
* Will “ Our Own Correspondent” oblige us, on future occasions, by powers of the various artists. The parts of the prima donna (always a
| translating whatever Germau he may choose to quote, as, by so doing, he high soprano) had to be transposed for Amalie Hähnel, whom, as a
would, particularly when a juke depends on the clear comprehension great public favourite, it was necessary to keep constantly employed.
of his contributions, oblige those readers of the Musical World who The same was true of many tenor parts as well, such, for instance, as
may not be German scholars ? As it is, we have been compelled to that of Arturo in I Puritani, the fair artist looking very graceful, and
translate the above lines ourselves. Here they are in their English acting with great propriety in male costume. But Gläser Soon
garb:managed to avoid the trouble of continual transposition, which latter,
“ Then, turning round, with pride I cry, by the way, proved highly embarrassing to other artists, who naturally
My native land is Prussia." wished to sing the various parts in their respective original keys. He
Ed. Musical WORLI).
with a Viennese accent so thick that it might, in popular parlance, have
the members would not, had they remained any longer, have been been cut with a knife. To the above names must be added that of Herr able, with that certainty which is so desirable in musical matters, Eicke, afterwards engaged at the Royal Opera House, then manager of to take part in the subsequent business of the day. However, the Stadttheater, Magdeburg, and now landlord of the Hôtel de Bavierc, they were all right by the time they reached the Theatre Leipsic. He was especially useful in French “ acting" operas. It was Royal, which was densely crowded by an appreciative audience, and then rather a dangerous game to compete with the Royal Opera in this which had been most kindly placed at the service of the “Liedertafel” peculiar kind of work, for Sophie Löwe and Herr Mantius, both in their by the King, who, as you are aware, is a great admirer of music. The prime, were excellent in Le Postillon de Lonjumeau, Les Diamants de la programme was as follows : 1. Overture to Hans Heiling, by Marschner; Couronne, L'Ambassadrice, etc. But, as is frequently the case, the 2.“ Vineta," by Franz Abdt; 3.“ Röslein im Walde," by C. L. Fischer; government establishment, with its Targe subsidy, 'was frequently | 4. “Grün," chorus, with horn accompaniment, by Storch ; 5. “Starmcdistanced in the race for novelty by the private theatre, thanks to the smythc," chorus, wiih band, by Franz Lachner; 6. Overture to Tann. energy displayed by the management of the latter, and the zealous
häuser, by R. Wagner ; 7. “Heidenröslein,” by Werner ; 8. “ Ständchen industry exhibited by the members of its company. Thus, after the aus den Burschenfahrten,” by Otto; 9. "Zum Walde," chorus, with great success achieved by Adolphe Adam's Au fidèle Berger, they horn accompaniment, by Herbeck; and, 10. “ Frühlingsgruss an das studied and produced his Brasseur de Preston in a week, so that they
Vaterland," by Vincent Luchner. Immediately after the concert, the had been playing it for a fortnight before it was brought out at the
singers were arranged in due order, according to the alphabetical priority Royal Opera House. It is almost superfluous to add that they succeeded of the respective towns to which they belonged, with the flags and inin taking most of the gilt off the gingerbread before that dainty came signia so dear to German minds, and marched off to the Odeon, one into the hands of their privileged rival. Halévy's grand works, also, such band heading them, and a second being placed midway in their ranks. as La Juive and Guido et Ginevra, were first produced in Berlin at the The festivities at the Odeon lasted to a late hour of the night, or rather Königstädter Theater. A short time subsequently, in consequence of
an carly hour of the morning. After a short period devoted to sleep, the dearth of novelty, the operatic speculation began to fail, and the the singers 'wended their way to the railway station, where a gaily late Herr Cerf, a sharp-sighted, practical man, who regarded art
decorated stcam-engine, with carriages equally gay, was waiting to convey simply as a means for acquiring money, discharged the German them to a charming spot called Marienburg. At four o'clock a grand Operatic Company. The various artists were dispersed in all directions,
dinner was again prepared in the Odeon, and at ten o'clock there was Franz Gläser, who deserved a better fate, proceeding, as conductor, to
a ball, which afforded unalloyed satisfaction to both ladies and gentlemen. the Theatre Royal, Copenhagen, where he died. In 1840, the first Altogether, the festival was a great success, as, indeed, these things Italian Opera Company that ever gave performances in Berlin appeared
generally are in Germany, for the Germans are a simple good-natured at the Königstadter Theater.
race, easily satisfied, and exemplifying in the higlicst degree the forco There have been grand doings at the Singacademie lately. His of their own proverb : “Wergern tanzt, dem ist leicht gepfiffen.” Majesty has presented that institution with a colossal marble bust of
Poor Marschner was not forgotten, despite what the Spaniards are so Louis Spohr, from the chisel of Herr Carl Bläser, jun. In com fond of repeating, namely: “A muertos y á idos ya no hay amigos," memoration of this event, so creditable to all persons concerned, a sort of
or, as I might cxprcss it, were I not so fond of national proverbs : inauguration festival was held, in the large hall, under the direction of “ We soon cease to recollect the dead.” When the procession, on its Professor Grell, the bust occupying the place of honour in front of the
return from Herrenhausen, arrived in front of the house formerly singers. After a chorale by Zetter, came picces from the two oratorios,
| occupied by the deceased composer, three loud cheers were given, Die letzten Dinge, and Des Heiland's letzte Stunde, as well as Spohr's while very many of the singers, separating themselves from the main setting of the 8th Psalm. The last production was once executed by
body, made their way to the churchyard. At the grave, marked by the the Singacademie, in the presence of the composer. The simple but
bust sculptured by Hurtzig, and richly decorated with garlands and solemn musical ceremony was brought to a conclusion by Leonardo
noscgays, they sang a chorale to Marschner's memory. Leo's celebrated “ Miserere." I may mention, with regard to the
VALE. Singacademie, that, after the winter season, a number of the most sterling pieces have been selected for this year's practice, thus interesting THE THIRTY-NINTH MUSICAL FESTIVAL OF THE both members and hearers. The following list of the works executed
LOWER RHINE. will prove this: 1. Ph. E. Bach: Die Israeliten in der Wüste. This oratorio, which, as far as I know, had never previously been executed
(Continued from page 436.) in Berlin, was given in full. 2. Seb. Bach: "Ich lasse dich nicht.” In preparing the organ-part, Mendelssohn has confined himself within 3. Cherubini: Requiem. 4. Curschmann: “ Barmherzig und gnädig." | narrow limits, and we everywhere observe that delicate tact for which he 5. Jacobus Gallus (Hahn): “Ecce quo modo.” 6. Grell: "Pfingst was distinguished in all works of this kind. Not only in the solo songs, lied." 7. Jos, Haydn: “Der Frühling ” (Jahreszeiten). 8. Antonio but even in the choruses as well, he makes only a moderate use of the Lotti: “ Crucifixus," for eight voices. 9. Palestrana: a. “Tu es Petrus;" organ; so that, by its being gradually worked up, and by its full powers b. “Ave, regina." 10. Perti: “Adoramus te." 11. Andreas Rom being reserved for the last, it is more admirably blended with the whole berg: 12th Psalm. 12. Schicht: “ Veni, sancte spiritus.” 13. Stür. composition. It is greatly to be desired that the Leipsic Trade Union mer: 151h Psalm. “ 14. Fasch: 16 part Mass. 15. Wilsing: “De would avail themselves of the score, now in the possession of Herr profundis,” for sixteen voices. 16. Wollank: Requiem. 17. Zelter: Ignatz Seydlitz, for an edition of Solomon. Herr Seydlitz is well known • Hymne an die Sonne,” and “Preussische Festlieder," by Eccart and for his love of art, and would, without doubt, accede to any expressed Stobbäus. The summer vacation commenced on the 9th inst.
wish of this description, with as much alacrity as he displays in allowI have nothing more to tell you concerning matters musical in Berlin ing access to the treasures of his musical library, the greater portion of this week, so I will, with your permission, give you an account of the | which he inherited from his father-in-law, Herr Varkenius, who rendered Sängerfest der norddeutschen Liedertafel (Vocal Festival of the such service to music in Cologne. “ Liedertafel" of North Germany) at Hanover, which took place from At the very commencement of the oratorio, in the overture writien the 13th to the 15th last month, and which, profiting by the railway for only two violins (with which the two obocs go), two tenors and facilities at present existing between the two capitals, I attended, not in basses, ihe organ produces a fine effect, not alone in the laryo, with the the capacity of a member of the “ Liedertafel,” but, 10 quote Robson, chords of the full instrument, but also in the alleyro, with the basses simply “as a man ; as a man.” The proceedings commenced by the strengthened by means of the pedul, and the harmonic filling up in the members going in procession, at an early hour, to the royal palace of manual by means of the labial stops or tongue-works. Herrenhausen. On their road they were almost overwhelmed with In the first chorus ¡No. 2.), the B major chord of the organ, preceding flowers flung to them by fair hands. To this compliment they the introduction of the choral basses without accompaniment at the responded, as in duty bound, with musical “Hochs" or cheers. On fourth crotchet, prepares us, in quite a different way to the simple B of arriving at Herrenhausen, all the waterworks of which royal abode the double basses, for the festive song, “ Mit Harf und Cymbal-klang were spouting away briskly in their honour, the singers halted before erhebt Jehovah's Macht.” The organ accon:panies the full chorus in the palace, and, forming themselves into a semicircle, serenaded the tasto solo; when the sopranos, contraltos, and tenors begin (without any King, who appeared on the balcony by the side of the Crown Prince. bass), it strengthens the vocal parts without mixture, and sixteen-feet At the conclusion of the serenade-if I may so designate a piece of register, while the whole instrument is not employed till the conclusion, music sung in the early morning-a substantial breakfast was provided where the choral basses and tenors intone for the last time, in B major, in the palace for the visitors by his Majesty, who, together with the the principal motive, “ Ihm, aller Herren Herr." Crown Prince, was himself present. After a few more songs had! The following bass air in E flat major (No. 3, 3/4), the only air for becn sung, the signal for returning was given at twelve o'clock ; bass-solo in the entire oratorio (perhaps an after-interpolation?), accomnot a moment too soon, for, thanks to regal hospitality, some of pavicd in the original merely by two violins and the figured bass, has then swaying up and down with the second figure of the theme:
been scored by Mendelssohn with an evident love for the organ, the Viola di Gamba stop predominating. In scarcely any other number does the organ appear so self-dependent; but the additions are very modest, and, with a wonderful delicacy of feeling, are derived from suggestions in the violins or the vocal parts. Thus, Bar 10–15 of the prelude —
a figure expanded in the middle, and again at the conclusion, into a longish suite, and, by means of the united choruses - the basses being tripled in the chorus, the orchestra and the pedal of the organ - rising to a climax, the various tone-steps towards which tower gigantically one above the other; all this combined, elicited, with irresistible power, a storm of applause, such as is seldom heard. The musician, astonished, and even carried away like anyone else, asked himself, “By what means has the composer produced such an immense effect?" We bave given above the three or four notes of the four bars on which the entire chorus of nincty basses is built.
STATISTICAL RETURN OF THE PERFORMANCES AT
(From our own Correspondent.)
Auber, Die Ballnacht, 3 times ; La Part du Diable, twice ; Balfe,
The Bohemian Girl, once ; Beethoven, Fidelio, 4 times ; Bellini, The solo violoncello part in the bars 12--15 even obtains subsequently Norma, revived, 7 times ; Boiëldieu, La Dame Blanche, 3 times; a perfectly independent figure of its own at the conclusion of the theme Cherubini, Les Deux Journées, 3 times; Donizetti, Marcia di Rohan, in F major upon the dominant of E flat, five bars before the reintroduce revived, 6 times ; Le Philtre, 4 times ; Belisario, 4 times ; Lucrezia tion of the original key : “ Preise den gütigen Herrn alle.”
| Borgia, 3 times ; Lucia di Lammermoor, 3 times ; Linda di Chamounix, Voce e Bassi.
once ; Dom Sebastian, 4 times ; La Fille du Régiment, revived, twice; | Flotone, Stradella, 3 times; Martha, 6 times ; Glück, Iphigenia auf
Tauris, twice ; Gounod, Margarethe, new, i7 times ; Halévy, La
Juire, 8 times ; Kreutzer, Das Nachtlager in Granada, twice ; Lorzing, Welt der Recht
Czaar und Zimmermann, twice ; Maillard, Das Glöckchen, new, 8 und Wahr-heit auf e-wig er · hält !
times ; Marschner, Hans Heiling, revived, 8 times ; Mendelssohn, Die Organo.
Heimkehr aus der Fremde, new, 4 times ; Meyerbeer, Robert le Diable,
Die Lustigen Weiber, twico ; Rossini, Guillaume Tell, 7 times ; Schubert, But even this figure is only anticipated, for its base appears sub
Die Verschworenen, new, 12 times; Spohr, Jessonda, once; Verdi, sequently in the first violin, the vocal part, and the bass :
Hernani, 7 times ; I Trovatore, 10 times ; Rigoletto, 6 times ; Wagner, Der fliegende Holländer, 10 times ; Lohengrin, 3 times ; Weber, Oberon, twice ; Der Freischütz, 8 times.
You are now posted up pretty well in what has been done here
in the way of operas during the past year. The Recensionen The conclusions of the melodic periods, accompanied in the score publishes also a list of the ballets performed, as well as of the only by the bass, Mendelssohn fills up harmonically with the organ. members of the company, and the number of times each individual We have gone somewhat into detail with this number, in order to give member sang or danced. But as the list would not, I should our readers a slight notion of the way in which Mendelssohn has
opine, prove particularly interesting, I forbear forwarding it. It supplied the organ part.
| is reported, as a settled matter, by several papers, that we are to The air was sung with expression and dignity by Herr Carl Hill, of 1
have an Italian Opera this year. Those persons who pretend to Frankfort-on-the-Maine, whose full soft voice is admirably adapted to
know all about the matter say that the speculation is a private oratorio-singing.
one, started by a number of wealthy musical amateurs, who have In the grave of the introduction to the magnificent double chorus, No. 4, in B major, “ Mit frommcm Sinn und heil’gem Mund,” we first
expressed their willingness to advance 100,000 florins, which are experienced the peculiarly wonderful effect produced by the sustained
ready at any moment. The company is to perform for four chords of the full organ, while the stringed instruments are proceeding
months, commencing on the 1st October, but it is, apparently, exclusively in heavy quavers. This combination is, indeed, indescribable; not yet decided at what theatre. Herr Wolf, formerly stagethe waves of sound flow in upon us in such a way, that we are no longer manager at the Royal Opera House, Berlin, has already, it it capable of distinguishing which ones are pressing forward the others, so asserted, been secured to direct the artistic branch of the enterwonderfully and solemnly do the columns of air from the quivering prise, and is busily occupied in making the requisite engagements. organ-pipes sough forth and combine with the vibrations produced by He bas entered into negotiations -- so, at least, I am informed the strings of 107 fiddles of all sizes and forms. Then came, too, in with various celebrities, among whom are Mlle, Artöt, Mlle. the principal movement, the two particularly sonorous choruses, kept Trebelli, the Sisters Marchisio, Tamberlik, and Angelini. Mind; distinct by their respective positions - for the breadth of the hall allowed I do not vouch for the truth of the above statement. I give it as the orchestra, especially the violins, to be placed between them — and I heard it rivalling each other in the precision of their attack, in their accentuation, and in the freshness of the voices of the singers, taking up the melody from all sides of the hall, like so many multitudes of the people streaming
* In the previous season, when the theatre was open only 301 nights, to the Temple, at the powerful leading motive :
42 operas, 3 being new ones, were produced. Of thesc 42 operas, 35 still remain in the repertory. The 7 operas which have been withdrawn are : Le Postillon de Longjumeau, by Adam ; Fra Diavola, by Auber; Dominga, by Dessauer ; Leonora, by Donizetti ; Die Kinder
der Haide, by Rubinstein ; Tannhäuser, by Wagner ; and Euryanthe, Den fern • sten Vol - kern wird es kund, by Weber.
its fortunes have steadily risen; this, too, in spite of a still more deadly Tue Jubilee Concert was worthy to commemorate the event in honour
blow ihan the voluntary secession of his celebrated predecessor, viz. of which it was projected - viz. the successful completion of the 50th
the involuntary secession of no fewer than forty-seven of the year of the Philharmonic Society - its golden wedding with the
most distinguished members of his orchestra. In 1861 the duties of sympathies of our musical public. The fact of its taking place has
these excellent professors, at the Italian Opera, were found incom. already been recorded in a few lines; but the occasion is too interesting
patible with those which called them, about once a fortnight in the to be dismissed with a brief historical paragraph. Since its institution
spring and summer months, to the Hanover Square Rooms. The extra
nights at Covent Garden being now extended to Mondays, and the in 1813 the Philharmonic Society has -- to use a homely phrase - seen various ups and downs. Neverı heless, even in its darkest and most
Philharmonic concerts also taking place on Mondays, the one or the threatening periods, it has never once departed from the high standard
other must be abandoned. Mr. Gye (who can blame him ?) would not which it set itself from the beginning, nerer once by lowering that
dispense at these extra performances with the services of more than standard endeavoured pusillanimously to minister to a taste less
half his band ; and so there was no alternative for the Philharmonic scrupulous and refined than that to which it made its first appeal, and
but to change its nights or give up its concerts. To give up the conto which it is indebted for a world-wide celehrity. Thus it has never
certs was out of the question. To change the nights of performance forfeited the good opinion of those who actually constitute the tribunal
was difficult for more reasons than one ; in addition to which there adjudging in this country the real position of the musical art, and who
was a sort of superstitious dislike to any such innovation on the have invariably rallied round the Philharmonic in its moments of
| custom of nearly half a century. Here was the worst dilemma of all. temporary trial Amid all kinds of well-intended, however bigoted
Never before had the society found itself in such a strait ; for until now opposition, the society has submitted to reform after reform, and pre
it had been a sort of traditional etiquette to consider the Philharmonic served its moral equilibrium — a sign that its constitution is of the concerts, like those of the Sacred Harmonic, privileged. Times had strongest and the healthiest. The office of leader was done away
changed, however, and the tradition was ignored. The tough constiwith, and the undivided control of the conductor's stick established;
tution of the society, nevertheless, even in this grave emergency, helped but the concerts, in the face of endless hostile presentiments, went on
to save it. It was too hale and hearty, and its ways of life too honest as usual. No one, in the end, regretted the fiddle and piano, which
and simple, to be doomed to die just yet. The spirits of Haydn, rather fought against each other than helped each other out. A
Mozart and Beethoven, Weber, Spohr and Mendelssohn, would have plurality of conductors was next gradually abolished — for the whole
risen to forbid it. The forty-seven involuntary seceders were promptly some despotism of one, engaged from year to year to direct the whole of
replaced by forty-seven new comers; some from Her Majesty's Theatre the eight performances; and yet, loud as was the outcry from many
(also, by the way, rather tenacious of life), some from the Crystal quarters, the Philharmonic firmly and consistently held its course, until
Palace, and some from Professor Bennett only knows where. At any opposition died away, and the perpetuation of the new system was
rate, in 1861, the 49th series of Philharmonic concerts --- which many sanctioned by unanimous approval. The late Sir Henry Rowley Bishop,
of the society's most constant patrons never expected to see --comour national English composer, the illustrious Prussian Mendelssohn,
menced as usual, with a grand orchestra, of nearly eighty performers ; and Herr Ignace Moscheles, the renowned pianist, were alternately
and, as if to throw down the gauntlet to destiny, the directors, who appointed conductors; and at one time the idea was entertained that
modestly and timorously had reduced the number of concerts to six, Mendelssohn himself would consent to undertake, season after season,
resolved in the interim, wisely and boldly, to revive the old system the sole direction. Mendelssohn, however, was too deeply absorbed in
(dating from 1813), and return to the time honoured "eight." The other pursuits, and the hope of his becoming perpetual conductor was
incidents of the seasons 1861 and 1862 are tolerably familiar to our speedily and inevitably abandoned.
readers. The new (or almost new) band has been brought more and Many and serious discussions now ensued upon the claims of this and
more under the control of the conductor ; and the first eight symphothat professor to undertake the responsibilities of the post, which
nies of Beethoven (to speak of nothing else) have been twice performed ultirately-in 1846 -- was offered to and accepted by Mr. Costa. That
in such a manner as to sustain the well-earned reputation of the ge cleman continued in office, with manifest advantage to the perfor
Philharmonic. In short, the society was never in a more flourishing wances, until 1854, when, after a brilliant reign of nine years, he abdi.
condition ; and, instcad of dissolving at the end of the fiftieth season, as cated. With a single exception this was the severest blow ever dealt was anticipated, it was celebrated the other night-in St. James's Hall to the Society. But, nothing daunted, the Directors for the following
(the Hanover Square Rooms not being big enough for the occasion) year--with the indefatigable Mr. Anderson (who has been one of the with a "Jubilee” concert of varied and splendid attraction, attended by seven annually elected for nearly a quarter of a century) at their head
one of the largest and most brilliant audiences ever assembled at a obtained the services of a new conductor, as notorious as Mr. Costa,
musical entertainment. Thus, in the year of expected dissolution, the though from another point of view. The year 1855, during which Herr
patrons of the Philharmonic have had nine performances instead of Richard Wagner wielded the bâton, was one of the most disastrous on eight, the profits of the extra concert amounting to little short of 500l. record. Happily his engagement terminated with the series of concerts,
As this was a really memorable event in the annals of a society the sd, as the Music of the Future did not seem to sort with the com
earliest to call attention to genuine music in this country-a society to plexion of our one great conservative institution, its renewal was
which we owe the knowledge, now so general, of the greatest orchestral never contemplated. At this juncture it was generally rumoured that
works of the greatest orchestral composers, which revived Haydn and tbe Philharmonic was on its last legs. “What a pity," said one, "to
Mozart, introduced us successively to Beethoven, Spohr and Menstop seven years short of its Jubilee!” “Half a century," observed delssohn, and at the concerts of which nearly all the most admirable another, « would be such a respectable term of existence! It might / performers on various instruments of the last half century have from then lecently give up the ghost, having performed its mission.” “And,” | time to time appeared-we append the programme of its “ Jubilee Coninterrupted a third, « leave the rest to be worked out by younger and cert " --- a document to be read with interest by all who wish well more energetic hands.” On all sides the opinion prevailed, that if Mr. / to art :--Costa could not be prevailed upon to accept office again, there was an
Beethoven end of the Philharmonic. But how was that to be brought about ? Mr.
Recitative and Aria, “ Matilda von Guise"
Hummel Costa had not been dismissed from his post (the idea of dismissing Mr. Concerto in D minor, violin
... Spohr Costa!); he had resigned it of his own accord ; and unless the seven Hymn, soprano solo, chorus, and organ," Hear my directors - on behalf of the forty members and sixty associates-were
Mendelssohn prayer" Fantasia, Pianoforte, orchestra and chorus ...
Be thoven to approach the great Neapolitan with words of contritc repentance, Finale, "Lorelei," soprano sole, with chorus
Mendelssohn and crying “ Peccavimus!" bey him on their knees to save them, he
Overture, composed expressly for this occasion
Sterndale Bennett would be likely to turn a deaf ear to their petition. This course, how
PART II. ever, did not suggest itself; or, at any rate, it suggested, was not carried Sinfonia in G (Jupiter)
Bellini out. On the other hand, the vigorous constitution of the Society once
Theme Variée, violoncello
Piaiti more stood it in good stead. Even this last blow failed to prove mortal, Arietta, con Coro (Armida)
Glück At the eleventh honr it was remembered there was such an English
Aria, “ With joy the impatient husbandman'
... Haydn Overture (Euryanthe) ...
.. Weber musician as Mr. Sterndale Bennett-an old member of the Philharmonic,
Conductor : Professor S1ERNDALE BENNETT, Mus. D. who had frequently served as director, and in bygone years as often conducted the performances. To Mr. Bennett was tendered the As we believe the principal artists, vocal and instrumental, gave conductor's bâton, which he courageously grasped, and has wielded ever their services gratuitously, we shall not criticize this concert. And, since, with honour to himself and profit to his employers. From the | indeed, were we to undertake the task we should have little but praise first season during which this eminent musician officiated as conductor, to award, inasmuch as the singing and playing was of the highest the star of the Philharmonic has shone with undiminished lustre, and order, every one without exception evincing an amount of zeal in pro.
portion to the importance of the occasion. The sensation created by for them, a Mystery, like that which Victor Hugo describes as having Herr Joachim, in Spohr's fine concerto; by Mad. Lind Goldschmidi, been seen on the broad stone at Notre Dame. in Mendelssohn's Hymn (organ, Mr. E. J. Hopkins), and the bravura Behold those massive ecclesiastical ruins (Beverley, our son, your from Beatrice di Tenda ; and by Mlle. Titiens, in the magnificent finale right hand, and may it never forget its cunning), stretching far back, from Lorelei, is indescribable. As a matter of course, they were in the arcades, the huge windows, the still lofty tower. There is Rome. each instance unanimously recalled. Mr. Santley, too, in the airs from It is moonlight, dim moonlight, for has not her sun set? There are Hummel's Matilde and Haydn's Seasons, and Sig. Piatti in his brilliant scattered the tombs, in the desecrated grave-yard. You shall see their and well-written variations, received the most flattering applause ; , contents anon. Enters the Templer. He is master of the situation, and while last, not least, Mrs. Anderson, whose final appearance in public of all the jugglery thereof. You may think it is Formes, and truly that it was, and who thus worthily terminated a long and honourable genial owner of the portentous voice was with us just now, but surely career in a composition by the great Beethoven which she had been this evil presence hath more of the priestly air. That sensuous, keen, the first to introduce to the English public — how many years since it is crafty face is discharged of the tenderness that redeems Bertram from needless to enquire - was greeted, both on entering the orchestra and our entire hate-Bertram was a father—this is only a Monk. Do you at the conclusion of her performance, with hearty and general cheers, | not recognise Antonelli ? But who next? Look, this is not Robert that did not sub-ide until she once more appeared to bid farewell to her the Devil, but Pius he Dupe. He is bewildered, and he does not like admirers. Professor Sterndale Bennett was, nevertheless, amid all the the work ihat is set him. He has some recollections of a Will (see talent that surrounded him, the legitimate hero of the evening. When Dean Swift and Brother Peter hereon) which bids him abstain he stepped on the platform he was hailed with enthusiasm ; and after from unhallowed pursuits. The tempter ridicules his fears, and points the overture of Beethoven and the symphony of Mozart--by which to the Golden Branch. There it lies in the hand of the dead. “Take it," masterpieces the efficiency of the orchestra he may be said to have says the evil one, “and it will give you new power and authority, improvised as well as trained was most favourably tested – the council-doors will fily open before it, and the bravest shall be struck demonstrations were renewed. But it was the new and beautiful over down into stupor at its brandishing Go, and take it." The tempted ture, suggested by Moore's Paradise and the Peri, which he had composed trembles. "The Will forbids me. The Golden Branch - it is not a for the occasion-decidedly one of the most finished, as it is one of the Golden Rose - it is a Curse." " Take it, and use it, fool.” But he will most original and imaginative works from his pen -- that afforded the not. With a bitter sneer Bertrantonelli steps back, waves his hand, audience the fittest opportunity of expressing their high estimation of and summons his allies. The tombs yawn, the arcades whiten with Professor Bennett's services. Notwithstanding its many difficulties, spectral forms, and a crowd, gliding in procession, and performing all the execution of this new work was one of the most absolutely perfect manner of imposing antics, suddenly surrounds Roberto Nono. What we remember; and thus the members of the band were able to show in does it all mean? Dead superstitions, galvanised traditions, obsolete the most graceful manner the respect they entertained for their con vows, lifeless observances, mocking homage, are resuscitated to intoxi. ductor. The overture was listened to from first to last with an extra cate the unfortunate dupe-and, look again-those are not ruins; you ordinary amcunt of interest, and the composer recalled to the orchestra | bchold the interior of 'St. Peter's, swaddled in grave clothes, and lit at the conclusion, amid a storm of applause. As, no doubt, Paradise with smouldering candles, and all the Shams are dancing and careering and the Peri will be one of the chief features at the next series of around Pio il Diavolo. The fumes of the incense go up, and the concerts, we may for the present defer speaking of it at such length and enchantment seizes him, and he believes that he is to go forth conquerin such detail as its merits demand, The romantic and chivalrousing and to conquer. He snatches the Branch, and it is, as he truly said, prelude of Weber, always one of the capital displays of the Philharmonic | a Curse. Brandishing it, and with his face glowing with the madness orchestra, brought the Jubilee Concert -a “ Jubilee” in the fullest of his falsc exaltation, he waves his Branch-Pius the Dupe stands on senso - to an end with becoming pomp. There was then another high, and curses the nations of the earth who do not bow down to him cheer for Professor Bennett, and the brilliant company dispersed. and worship him. But what is the terrible red light that is lurking in
those cloisters? What are the hideous Things that as yet are creeping, A VISION AT COVENT GARDEN.
cat-like to arch and pinnacle - drop the curtain, quick. The end is
not yet. (From " Punch.")
Take the story back to Italy with you, ladies and gentlemen who have Has Mr. Gve been placing Robert the Devil upon the Covent Garden come over to our Show. And when you have preached the sermon, do stage with a view to the settling the Italian question? We do not justice to the text. Say that Meyerbeer's noble opera, which has been mean the question whether Italian operas and operas in Italian can or in abeyance for sundry reasons for many a year (is one of them a recog. cannot be better given at Covent Garden than anywhere else in Europe, nition of the fact that the grand scene may be something too appalling because that question has been settled in the affirmative a long time for Anglican tastes?), has been brought out by Mr. Gye with a splenago, and even the Parisian critics are compelled to yield reluctant assent dour of illustration worthy the stage that has given us the Prophète and to the decision. But we mean the question of the resuscitation of the the Huguenots. Say that the magnificent and highly coloured music is Pope's supremacy. The thought certainly occurred to us the other played and sung (you may say rendered and interpreted if you like night as we gracefully lounged in our stall, and if the “ waits" between slang) to perfection, and that Tamberlik's Robert and Formes's the acts were not so short at this house, we might have thought the Bertram are each admirable - one for its chivalry, the other for its matter out on the spot. Let us do so here, where (his looking glass vigorous passion and you may speak well, also, of ladies who put out being turned up) Mr. Punch has no vision of loveliness to distract his their whole powers with a loyalty more effective and more welcome eye, and where, Mrs. Punch having gone to the International to annoy than much frigid perfection that hath been seen. Tell everybody that others with her crinoline, he lias not to take thought for his immortal | everybody who is anybody sees the Covent Garden Roberto. anclcs.
Then add (it is due to the great composer, and to the greatest singer The situation of the respected Pope Pius the Ninth is most unques | among us) that a sccond homage is done to Meyerbeer by the protionably and mistakeably set forth in that third act, and marvellous duction of ihe same opera at Her Majesty's Theatre. That here, triumph as it is of scenic effect, its esoteric merit is even a higher virtue there is much to praise, and that here there is one feature on which in the estimation of Mr. Punch, Sir Bulwer saith,
praise is thrown away, seeing that all hath been said thereof which "From vulgar eyes a veil the Isis screens,
cunningly devised paragraphs can set out. Say that at Her Majesty's And fools on fools still ask what Hamlet means."
Theatre Titiens holds the part of Alice. You will scarcely find an No such veil interposes between Mr. Punch and the subtle mystery of auditor to whom it is needful to say more. But should you meet such the scene, and he beholds that terrible vision of the Nuns and the an one, add that those who desire to see and hear an Alice, should go to Branch with one eye on Salviani and the other on the Vatican. The the Haymarket Opera House, while those who wish to witness and appreprocess makes him squint horribly, but a true statesman is always ciate the opera of Robert the Devil must go to Covent Garden. It might ready to squint in the interests of humanity. Palmerston squinted a not be unwise to imitate the first bishop of Bath and Wells, a Scot, little in the direction of Nice, and may be even now thought io have a whose traditional answer to the King's inquiry which of those cities he slight Mexican cast in his eye. Why, any stupid clown can look straight- would have for a see was so broad a reading of the first name that the forward-it requires genius to see both sides of a picture at once. King thought he wanted and gave him-bauth.
Yes, Mr. Gye, grateful to Italy for the demi-gods and double-god. Mr. Punch is instigated to add, that should the Pope's pcrusal of desses of son, whom she hath sent him, resolves to repay her by lending these remarks (Punch is always translated to him by his Cross-bearer) his aid to a settlemelit of her chicf trouble; and he has placed in such induce him to wish to go to Covent Garden, he must telegraph to the gorycous guise as never was seen before, the story of the Pope's sin box office under the portico in Bow Street--the management cannot be and trouble before the eyes of our International audiences. Let the answerable for any mistake that may arise by people's being misled into foreigners, when they go back, say that a Miracle play has been got up the traps of touts. Infallibility will please to copy the address.