hand, the following lines:~“ Mon très cher Piermarini! Je vous offre the screaming forte preceding or immediately following the softest l'image de Mozart. Tirez votre chapeau, ainsi que je le fais au maître piano, giving one phrase forte and the next piano in almost uninterdes maîtres."

rupted successions, and, of course, not paying the slightest regard to the

words. This habit is the more to be deplored, as Signor Naudin's voice MUSIC AT WIESBADEN.

is by no means a disagrecable one in the upper notes. According to re

port, he was paid 1,000 francs for singing one air and two romances ! (Extract from a Letter.)

But what of that? “He has been two years in Paris.” Herr Jaell The well-known singers, Herr Beck and Sig. Carrion, had concluded, performed his “ Home, sweet home ;” the chorus of Pilgrims from to my great regret, their engagement before I arrived, but the papers | Tannhaüser, and Chopin's “Berceuse.” Herr Lotto had the courage to promised me, from the 17th to the 23rd July, three performances at the | play the first movement of a concerto by Viotti in the Cursaal, but he opera of Mad. Dustmann-Meyer, a virtuoso concert in the Cursaal, and introduced a bravura cadence. This concert took place on the Friday, two concerts of the Cologne Männer-Gesang-Verein! Was not this the day before the first concert of the Cologne Männer-Gesang-Verein; a week of music worth a long journey?

and as the members of the latter gave their receipts in aid of the erection Mad. Dustmann appeared successively as Fidelio, Valentine, and of the towers of the new Roman Catholic church here, the managers of Donna Anna. I will not say she sang these parts, she played these parts,

the Cursaal devoted the receipts of the Friday's concert to the same or even she represented these parts. I can only say she was Fidelio, purpose. Valentine, and Donna Anna-yes, she was ; for she imparted to these Since their artistic trip to England, the members of the Cologne crcations of poet and musician, life and being, truth and actuality; she Männer-Gesang-Verein had not responded to the various requests addistilled from them figures, whose plastic and mimetic expression was dressed to them to sing beyond the limits of their own town. On being elevated by the breath of tune -- that herald of the soul to the Ideal. | asked, however, to aid the building fund of the Roman Catholic church I say purposely to the “Ideal," although I am very well aware that the in this place, by giving two concerts, mindful of their guiding principle Ideal is placed under a ban by a certain class of art.critics, who seek in of advancing what is good by means of what is beautiful, they accepted Realism the end of dramatic art, as well as of painting, and even of the invitation, and their performances on the 19th and 20th July proved music, translating the poet word for word. To this they are led by that they have still retained that artistic perfection for which they were mistaking natural truth for artistic truth, an error opposed to all previously celebrated. The members of the Verein, from seventy to eighty healthy ästhetics. For such persons, Lessing and Winckelmann, Hegel strong, were, after having been first greeted by the festive strains of and Goethe, have written in vain. Song is an art entirely excluding all one of the ducal military bands, welcomed at the railway terminus by realism, which it must thoroughly detest, as is amply proved by our the church committee, and conducted to the Victoria Hotel, where a experience of the simplo fact that it is impossible to represent by notes grand banquet had been prepared for them. The concert took place in the most beautiful natural strains--namely, the song of the nightingale the evening, at the Cursaal, the enthusiastic applause reminding one of and that the faithful imitation of those strains by the mouth of a human the concerts given by the Verein at the Hanover Square Rooms, being—for there are virtuosos who attempt it—is a caricature. Emotion, London, and in the Salle Herz, Paris. The audience comprised reprecharacter, and soul, when expressed by sung, lie so wholly in the domain sentatives from every civilized nation on the face of the globe; and that of the Ideal, that there does not exist in the Real, in Nature, aught that such an audience, the greater portion full of national prejudices, and, can, in the most remote degree, serve as a model for them. On this by its partiality for virtuoso displays, spoilt, as far as taste is account, however, is the effect of song more powerful than that of concerned, should listen with wrapt attention from beginning to declamatory speech, but, with our present natural resources, it is to be end - that it should greet such compositions as Ferdinand Hiller's attained by art alone. Artistic treatment of the voice, and artistic quintets for a soprano solo and a chorus of male voices, “Die ineasure of expression, are the conditions necessary for the idealistic Fenster auf, dic Herzen auf !” “ Die Lerchen," and "Wie ist doch truth of a musically dramatic impersonation. It is precisely in this die Erde so schön !"-Kreutzer's “Frühlingsnahen;" C. M. von respect that we assign Mad. Dustmann a very high position, and look Weber's “Schlummerlied” (encored); Rietz's “Morgenlied;" Franz upon her, since such great artists as Schröder-Devrient, Bosio, Köster, 1 Schubert's “ Gondelfahrer ; " Silcher's national song “Jetzt gang i ” Grisi, and Viardot have either disappeared, or are about to disappear, (encored), and Mendelssohn's “ Wem Gott will eine Gunst erzeigen," from the stage, as the best dramatic vocalist of the day in Germany, 1 - that it should greet such compositions, I repeat, with continuous combining, as she does, with an artistically-formed manner of employing applause, the result of the evidently exciting and inspiriting iman extensive and highly sympathetic voice a mimetically plastic talent, pression produced, was a triumple of which the Cologne Männerwhich, even in those cases where the actress for a moment overtops the Gesang-Verein may indeed be proud, even after all the laurels it has artistic limit which the vocalist never forgets, in no case tramples it previously gained. It was the magic power of the German “Lied," under foot.

executed to perfection, which worked this miracle with the audience, A great contrast to the representation of dramatic masterpieces, who, only a short time before, had allowed the theatre to remain empty such as Fidelio and Don Juan, was afforded by the concert in the during a performance of Beethoven's Fidelio. Mlle. Julie RotherCurhaus, the fourth of the series of weekly concerts given by the berger, from Cologne, sang the soprano solos in Hiller's quartets with managers of that establishment. At these concerts, the sole object in grace and certainty ; she has made great progress in the bravura style. view is the performances of virtuosos. They possess a certain interest, Besides the above, she sang Beethoven's songs, “ Trocknet nicht," and since they afford amateurs a most convenient opportunity of making the “Freudevoll und leidvoll,” with deep feeling. As you perceive, not acquaintance of a number of musical celebrities, who select, during the the slightest concession was made in the programme to a "watering summer, the watering places of the Rhine as the goal of their cosmopo place” audience. litan wanderings. Thus, at the first three concerts, there appeared After the morning concert in the church, Sunday, the 20th ult., there was Mads. Ubrich, from Hanover, Fabbrini (an Italianized German lady), only one opinion-namely, that it was impossible to hear anything more from Paris, Herren Beck and Marchesi, from Köln, vocalists; the touching and more beautiful than the songs by Palestrina:“Ecce quomodo quartet of the Brothers Müller, from Meiningen ; the violinists, moritur justus” and “() bone Jesu ;” Mozart's "Ave verum;" Schubert's Leopold Auer, from Pesth, and Leonard, from Brussels ; Herr von

nd Leonard, from Brussels ; Herr von “Salve, Regina;” and, of the German religious songs, “An die HoffBülow, Pianist Royal, from Berlin, &c. Herr Pallat, also, a talented / nung," by Schärtlich, executed as they were on that occasion. This pianist settled here, gave a successful concert..

unanimous opinion proceeded, moreover, from musicians of all nations. The programme of the fourth concert presented us, in large or I heard some Italians and French men more especially expressing themmiddling-sized capitals, as the case might be, the names of the follow- , selves on the subject in terms of genuine enthusiasm. In the afternoon ing artists, as soloists :-Dustmann-Meyer, Naudin, Alfred Jaell, Lotto, everyone was present at a rustic festival on the Neroberg. The intendant and Gaetano Braga. Mad. Dustmann sang the letter air from Don of the ducal Theatre had, with great politeness, intended to give a Juan, and three songs,“ Sonnenschein." by Schumann; “Haidenröslein," ) representation, on Saturday evening, of Ferdinand Hiller's opera, Die by Schubert; and “Frühlingslied,” by Mendelssohn. On being en- | Katakomben, but the indisposition of Mad. Deetz proyed an insuperable thusiastically recalled, she added another song by Schumann, Herr obstacle to the realisation of the project. The opera will be performed, Alfred Jaell accompanying her. The singing of Signor Naudin must, however, in the course of August. despite the applause of the general public, have left every real musician dissatisfied. This gentleman, born in Italy of French parents, is the incarnation of the bad taste which distinguishes the present Italian

ANOTHER BACH.-Herr Otto Bach, no relation, however, to the school of vocalism. He knows no mode of expression except celebrated Johann Sebastian, but a brother of the Austrian Ambassador

at Rome, has composed an opera entitled Sardanapalus. He has * We are afraid the writer's “celebrities” are not very celebrated. himself written the book, which is founded on Lord Byron's poem of the ED. MUSICAL WORLD,

same name.


How far Mozart influenced Cherubini and the change introduced by (Continued from p. 500.)

the latter in French music, is a question which is, as a rule, especially

in German historical works on music, got rid of with the general In the autumn of 1784 he went to London. He began there by writing

apothegm, that “a more intimate acquaintance with the works of Haydn vocal pieces for so-called pasticcios, that is, operas the joint productions and Mozart ” gave rise to the greater breadth and profundity in of several composers; a finale to one of them, entitled Demetrio, was Cherubini's style. But the proof of this assumption would, probably, more especially successful. He came forward, the following year, at be rather a difficult task, in an historical as well as in a musically the King's Theatre, with the comic opera, La finta Principessa, and critical light. The historical grounds are the more decisive. Mozart's achieved a decided triumph. He was not so lucky, in 1786, with his Figaro was first produced on May 1, 1786, and his Don Juan on Giulio Sabino. This opera was a total failure, not even being repre- | November 4, 1787, but were totally unknown in France. Mozart, howsented a second time; but Burney says it was “murdered” by the ever, as is well known, did not write Die Zauberflöte and the Requiem singers. Annoyed at this untoward event, Cherubini left London in till the year 1791, so that, consequently, those masterpieces could not July, 1786, and proceeded to Paris, little imagining that he would there

exert any influence upon Cherubini's Lodoiska, which he composed in take up his permanent residence, and find the most favourable field for

1790-91, and which was produced in the latter year. Le Nozze di his professional exertions.

Figaro was never once played, even in Vienna, in 1787 and 1788, and At first, however, he was not particularly successful even in Paris. was not restored to the stage till August 1789: it was first performed He wrote a grand cantata, entitled Amphion (153 pages of MS. score), in Berlin on September 14, 1790. In Paris, an unsuccessful attempt for the “ Loge Olympique,” but it was not performed. He was sum was made in 1793—two years after the production of Lodoiska-to moned, for the Carnival of 1787, to Turin, where he produced his combine on the stage Beaumarchais comedy with Mozart's music.* It

Ifigenia with brilliant success-a success repeated at the theatres of was not till 1793, also, that Mozart's Figaro found its way into Italy, to Milan, Parma, and Florence. This was the last opera he wrote for and turn out unsuccessful in Milan, Florence, &c. And how, forsooth, about in Italy. After the performances of Ifigenia in Turin, he returned to Don Juan ? The first representation of this masterpiece of dramatic Paris to compose his first French opera.

music, frightfully mutilated, did not take place in Paris until 1805. The The following are the facts connected with this work. The manage. Italian Opera performed it for the first time in its original shape in the ment of the Grand Opera had charged the composer Vogel, whose year 1811. music to the Golden Fleece had pleased the public, with the task of According to this, therefore, since Cherubini never left Paris from the setting Marmontel's book of Demophon to music. Vogel, a jovial com- spring of 1787 till the production of Lodoiska, it is utterly impossible panion, who frequently preferred cheerful society to work, kept the that the works of the divine creator of German dramatic music can management waiting nearly two years for his opera, and died, on have been known to the Italian-French master, and have exerted any June 28, 1788, before it was finished. Even during Vogel's lifetime influence on his new style, especially when we remember that the germ, the libretto had been transferred to Cherubini, and the opera came out at least, of the latter was visible in his Demophon (1788). on December 2, 1788. It was not particularly successful; on the con- In the twelve or thirteen years during which Cherubini wrote in trary, the public received it rather coldly, and gave it the bad character Paris for the theatres there, the following operas of his were produced:of being, on the whole, wearisome. When comparing it with his last Elisa, ou le Mont St. Bernard, 1794, excellent music, but a wretched Italian opera, Ifigenia, connoisseurs were more particularly struck with | book; Il Perrucchiero, 1796, probably an old intermezzo, rearranged for a want of melody. There was abundance of melody in Ifigenia, while the Italian company in Paris; Medea, 1797, one of his most powerful Demophon could boast of only two or three melodies worth mentioning.

y two or three melodies worth mentioning works, recently revived in Germany; L'Hôtellerie Portugaise, 1798; the When, therefore, the French attempt to date from this opera a total operettas La Punition and La Prisonnière (the latter with Boieldieu), change in Cherubini's style, it is merely an ebullition of national vanity, 1790 ; Les Deux Journées, 1800, and, the same year, with Méhul, because the book was the first French one he had ever set to music. Epicure; Anacréon, 1803, and the ballet, Achille à Scyros, 1804, which We should be more correct if we imitated Fétis (although even he contained most admirable music, but, on account of its ridiculous subject repeats the above assertion a few sentences previous), and sought in the (Achilles in woman's clothes, according to the well-known legend), soon constraints imposed upon the master by the French libretto, and Mar- disappeared from the repertory. These works, especially Les Deux montel's unrhythmical verses, an excuse for the weakness of the work. Journées, which ran above 200 nights in Paris itself, besides being

The real change in Cherubini's style, or, to speak more correctly, | performed innumerable times at all the theatres of Germany, spread the total break-up of his former notions of the character of dramatic Cherubini's fame throughout the entire civilised world. music, and the manifestations of genius sufficiently powerful to endow Les Deux Journées was the favourite opera of C. M. Von Weber. those ideas with life, were first inanifested in the opera of Lodoiska. “Fancy my delight,” he writes from Munich, on June 30, 1812, to While he had the musical management of an Italian company in the a friend, “when I beheld lying upon the table of the hotel the playThéâtre de la Foire St. Germain (1789), for which he wrote various bill with the magic word · Armand.' I was the first person in the admirable interpolations in operas by Paesiello, Cimarosa, and others, theatre, and planted myself in the middle of the pit, where I waited besides composing music for another book, Margaret of Anjou, which most anxiously for the tones, which, I knew beforehand, would again he never finished (eight numbers of it were found amongst his papers), he elevate and inspire me. I think I may boldly assert, that Les Deux was employed chiefly upon Lodoiska, which was produced in 1791, and Journées is a really dramatic and classical work. Everything is calcuhad an immense success. After every separate number, the whole audience lated so as to produce the greatest effect; all the various pieces are so

and applauded the composer. The music of this production | much in their proper place, that you can neither omit one, or make any opened a new path for French opera. While Cherubini carried out in addition to them. The opera displays a pleasing richness of melody, the melody the fundamental law of dramatic trath, the agreement of | vigorous declamation, and all-striking truth in the treatment of the the music with the situations in the drama, and their poetic expression, situations, ever new, ever seen and retained with pleasure. Trumpets as laid down by Gluck, he exhibited greater depth of intention, fuller have been introduced in the overture, and I think they might produce a and bolder harinony, and a style of instrumentation which, by its rich good effect in the allegro; but, in the introductory adayio, the single ness, and the characteristic employment of the wind instruments blasts, on the horn alone, are indisputably better in the last all-powerful especially, in conformity with the peculiar quality of their sound, intro crescendo, more effective and more appropriate to lead up to the grand duced the orchestra, in a brilliant manner, not only as the foundation climax, especially if the trumpets do not come in before the E major. for the vocal portion, but, also, as its necessary supplement, and its A part of the duet between Armand and Constance was excellently equal in bringing about the theatrical effect of the work as a whole. He given, but the commencement completely spoilt. I was most disagreewas thus, as far as regards France, the real creator of modern dramatic

ably surprised by an attempt to improve the composition in the finale. music-we mean that kind of music which the French call, in a good One of the most heavenly passages was, for reasons which to me are sense, la musique d'effet. As certainly as this description of composition perfectly incomprehensible, deprived of all its effect. After the quarrel is that most appropriate to musical drama, as well as that most in of the water-carrier with Marcelline, whose opposition makes him accordance with modern, in opposition to ancient, sentiments and feel angry, and when she bursts out crying, the fortissimo ought to be folings, and high as Cherubini must, therefore, be ranked, on this account, lowed by a clarinet quite alone, which should play the melody, till first it is equally certain that we must not hold him responsible for the the bassoon and then the violoncello come in, while the brother, condirection which effect-music afterwards pursued, especially in our own soling and supplicating his sister, begins to sing. This passage invariably time, through the instrumentality of Meyerbeer.

produces the greatest effect. Here, not only did the oboe play it, but an

accompaniment also had been added! The very difficult choruses in * According to ancther tradition, this extraordinary mark of respect on the part of the enthusiastic audience took place, some years subsequently, at the first performance of Les Deux Journées.

* Compare Mozart, by Otto Jahn, vol. iv., p. 201.

the second act went admirably. They were sung and played with pre- appeared at the Royal Italian Opera ; Sig. Luchesi, and Sig. Albicini, cision and fire. Indeed, the second act was altogether more rounded a new acquisition, of whose antecedents nothing is known here; besides and spirited than the first. In the third act, I had again occasion to Sig. Mei and the vigorous Sig. Soldi, whose voice no fortissimo of the regret some beautiful passages which had been omitted, especially the orchestra can quell. For barytones, we have the admirable Ronconi two or three words pronounced by the farmer's daughter : "Ah! and Sig. Graziani, from the Théâtre Italien, of whom the Parisian Antonio does not return'-by the omission of which the musical passages critics speak in eulogistic terms. The great Lablache once more clash with such a total absence of plan. If I have chattered away, my appears at the head of the bassi profondi; and all admirers of the operas dear friend, so much about this opera, remember that we can never say of Meyerbeer, and of Mozart's inimitable Zauberflöte (which may now enough of such masterpieces, and that so ardent a lover of art as myself take its place again in the répertoire), will be gratified to hear that may count upon your indulgence.”

Herr Formes, after the interval of a season, has returned to his position.
The other basses are Sigs. Polonini, Zelger, Gregorio, and the Protean

Tagliafico. In addition, two other engagements’ are being arranged

--with whom it is not stated. If one of these should be Mlle. Joanna [We have been requested to publish the following.–Ed.]

Wagner, it would be a coup de théâtre worth the risk; and if the other

were Giulia Grisi, to share in some of Mario's limited number of “ROYAL ITALIAN OPERA. – After a much longer delay than usual representations,' few, we imagine, would complain, more especially since which, lowever, may readily be accounted for, the prospectus of the it is rumoured that, after the present season, both these great dramatic forthcoming season of the Royal Italian Opera * has been issued. I singers intend retirino altogether into private life. to reside at their Its contents, on the whole, are satisfactory. The promises of novelty l estate in the vicinity of Florence. are rare; but what is promised is of a nature to excite interest, while the “ The band and chorus will be the same as usual, and Mr. Costa catalogue of engagements embraces one or two fresh names, together remains at his post - an announcement which, as there existed some with most of those of the old favourites. Omitting the ancient stereo doubts of it, cannot fail to give unanimous satisfaction. The ballet is typed preliminary, the directors at once make public the fact of their to be raised to importance this season, if we may judge from the having entered into arrangements with M. Meyerbeer for the produc engagement of Mlle. Fanny Cerito, whose achievements on the boards tion, on a scale of desirable efficiency, of his latest opera, L'Etoile du of her Majesty's Theatre will not have been forgotten. The other prinNord, which has had such unexampled success at the Opera Comique cipal dancers and coryphées are chiefly from the list of the foregoing in Paris and other continental theatres of importance. That the neces year, with the addition of Mr. W. H. Payne, the excellent pantomimist. sary completeness and efficiency may be anticipated at the hands of M. A. Harris continues stage-manager, the duties of which post he has the Covent Garden management there can be little doubt, the always performed with zeal; and Mr. W. Beverley is again the scenic Huguenots, the Prophète, and other works having tested their capability

artist,' or scene painter. There is no change in any of the subordinate to give effect to the masterpieces of the French school. Meanwhile it officers. The theatre is advertised to open on Tuesday, the 10th inst.-is announced that M. Meyerbeer has set the dialogue to recitative, with what opera remains to be seen. which was indispensable for the Italian stage; that he has composed

“BARBAGRIGIA." three new pieces (those we presume which have already been added at Dresden); and that the best founded hopes' exist of his arriving in London to superintend the production of his opera. Il. Mey: beer

PURITANS AND PLAYERS. really comes, and if the recitatives are composed as much as possible in

(From the Quarterly Review, for August, 1885.) the parlante rather than in the heavily accompanied style (the music THE Bicentenary Celebration of 1862 by which (as we showed at the as it stands, without recitative, being as elaborate as in any of the bonâ time) the Dissenters of all classes, in imitation of the Pope of Rome, fide •Grand' operas), the fate of L'Etoile du Nord at the Royal Italian sought to consolidate their forces, was productive of the most brilliant Opera can scarcely be problematical. The other novelty to which the results, and did great honour to the prescience of the far-sighted Miall, directors pledge themselves is Signor Verdi's Trovatore,—his last opera | Vaughan, and Bright. In a few years their triumph was complete, and but one, and, if we may credit the opinion of his admirers, his best. the Church of England was reformed, church organs were destroyed, That this opera has made the tour of Italy with equal rapidity and good the beadle was dressed in decent black, and prayer-books ceased to be fortune, besides being performed, within a short period, more than 25 adorned with velvet and gold. Perhaps, bad the new Puritan Fathers times at the Italian Theatre in Paris, where even Rigoletto has not yet stopped here, there would not have been much to complain of, but the been heard, is certain. Moreover, the libretto has been pronounced intolerant spirit broke out into violence, and, as in old days, ruthless dramatic and interesting, -and this, as M. Meyerbeer has placed beyond war was waged against all who differed from the fierce bigots in power. dispute, is a matter of no small consequence. A third novelty, As heretofore, the poor player was the victim of the persecuting Puritan. selected from the classical répertoire,' is merely hinted at. Whether

In spite of the intercession of the benevolent but feeble Lord Ebory, it is to be Cherubini's Medea (in which, we understand, the new prima his now tyrannical allies proclaimed war against the theatres. Shakedonna, Mad. Jenny Ney, is famous) or Mozart's Così Fan Tutti, the speare, Sheridan Knowles, and Talfourd were for a time allowed to be music of which is thoroughly • Orphean,' or his almost unknown performed, but all lighter representations were suppressed. Miall, Idomeneo, or another opera by Spohr, or Oberon, or one of the himself, hymn-book in hand, rushed upon the stage of the Lyceum at Iphigenias of the nine-times-threatened Gluck, is not specified.

the thousand and second representation of Peep o' Day, and with a “The engagements look well on paper, and with wise administration savage joke, made, as he said, “ shipwreck of Falconer." Dr. Vanghan, the company should be a most efficient one. True, there is no Grisi, attended by a violent mob of fanatical young students from Homerton, Grisi having bid adieu to her enthusiastic patrons last summer; and broke into the Princess's Theatre during a performance, and though for this will be the first time for more than twenty years she has been a moment delayed by the belief that Mr. Kean was preaching, they no missed from the London season. There is, moreover, no Cruvelli, her sooner discovered that the Corsican Brothers was being played, than congé having been disposed of to the French Opera for the period of the they rushed upon the stage, scattered the affrighted actresses, and even Exposition, which, it is hoped, will rival, if not surpass, our own of four

ch, it is hoped, will rival, if not surpass, our own of four the tears of Carlotta Leclercq only so far softened the rugged schismatics years since. But, among the soprani, we find Mlle. Angelina Bosio, whose | as to permit her and her sister-performers to depart unbarmed, on conreputation has grown with her remarkable improvement as a singer ; dition of their immediately joining the Abimelech Congregational Mad. Pauline Viardot Garcia, who can play anything, sing anything, and Union. At the Haymarket, Bubbles of the Day was attempted, but be as serviceable a contralto as soprano (ner recent impersonation at Paris Bright suddenly entered, and with the voice of Cromwell (as whom he of the Gitano, in Il Trovatore, for example); Mad. Jenny Ney, who at now dressed) he cried, “Take away those Bubbles." The gallant Lord Vienna, Dresden, and other German cities, eminent for their musical Dundreary, as became a Cavalier of long descent, drew a pistol, and standing, has obtained high distinction as the representative of the but that his habitual unacquaintance with technicalities made him fire

tragedy-queens' of opera; and Mlle. Marai, who alone, since the it into the ceiling instead of at the tyrant, the triumph of the latter secession of Mlle. Corbari, has been able to satisfy subscribers as a might have been brief, had not the Earl also forgotten to put in any comprimaria of the first class. There are also Mlle. Albini, Mlle. Nan- bullet. The hardships sustained by some of the actors were very sad. tier Didiée (contralto), and Mad. Bellini (seconda donna). At the head The Adelphi Theatre was seized by Spurgeon, who contumeliously of the tenors stands Sig. Mario, who is engaged for a limited number offered Mr. Paul Bedford (with a flippant jest at his Christian name, of representations ;' Sig. Tamberlik, who has been thrice able to brave after the manner of Elephant Chapel) the place of clerk, but the brave with impunity the rigour of a winter season at St. Petersburg ; Sig. | actor punched his head, likened him to Punshon, and escaped. Less Gardoni, one of Mr. Lumley's Old Guard,' who has never before fortunate was Mr. Toole, who was consigned to the Tabernacle Museum,

and compelled to explain Otaheitan idols and other heathen ouriosities, * Qy. The ninth ?-ED.

to the penny visitors, for nearly eight years, when he sprang out of window into a hay-cart, and was carried into South Wales. Mr. Robson without a difference, rather than admit any difference between you and was brought before the Court of Star Chamber an odious memory re- | me; but, as Mackay has taught us that a spade is a spade, I cannot see vived in honour of Mr. Bright's paper), and commanded to assume a why you should promulgate that a cavatina is a ballad, any more than real Porter's Knot, and carry tracts from Clapham to Islington. The that an overture is a poker, an epic poem an epigram, or a prime fine elocutionary powers of Mrs. Stirling were made a pretext for minister a washerwoman. Having purchased my ticket for the concert setting her to teach reading to a wretched school class, where Miss, as well as my copy of the song, I may subscribe myself, dear editor, Louisa Pyne was also sent to instruct the jeering urchins in Dr. Watts's yours precisely, Songs. Mr. Buckstone vowed a revenge, and, affecting to be con.

À PAYER_THOUGH PERHAPS AN ODD ONE. vinced of the error of his ways by the arguments of Dr. Vaughan, succeeded in so far blinding his persecutors, that they actually allowed him to address a crowded attendance of the Band of lope and Juvenile

HAYDN'S QUARTETS AND SYMPHONIES. Abstainers, when he suddenly sang the "Country Fair," threw his

SIR,-Could you indicate any work that fixes the respective dates of audience into convulsions, and sent home a thousand youthful mission. Havin aries to clamour in their households for reasonable recreation. For

Haydn's quartets and symphonies ?

Yours obediently, this offence Buckstone was set in the pillory, but the people pelted him

AN ADMIRER OF MOZART. with roses, and cast bonbons into his mouth with affectionate precision of aim. Mr. Boncicault, having joined the Baptists, was permitted for! [Consult Carpani's Memoirs, for which Haydn himself gave the some time to give the i* Water Cave Scene." under a pretext that he materials, and which includes, we believe, a catalogue of about 800 was teaching the doctrine of his new sect; but his underhand device did | compositions.--ED.] not prosper, and the theatre was taken by the Board as a place for practising the lungs and oratory of youthful preachers. The Dramatic

DEATH OF ISABELLA HINKLEY SUSINI.–Our readers, says the Daily Authors would no doubt have equally suffered, only there were none, Advertiser (June 7), will be pained to hear of the death of the popular a machine having been invented and exhibited at the International

American prima donna, Isabella Hinkley, the wife of the basso Susini. Show of 1872 for taking the plot and dialogue out of a novel, without

She had lately given birth to an infant, and her confinement was the aid of a pen, and the general diffusion of the French language,

rench language, followed by a fever, which, on Saturday morning at six o'clock, resulted consequent upon the French Treaty, having enabled managers to adopt

fatally. Her remains were removed to Albany. Mad. Susini was born the plan of Mr. Vincent Crummles, and give out the originals of the

at Albany, and evincing an early talent for music, was, after some English dramas to the performers. The hatred of the Dissenting Union

instruction at home, sent to Italy to study. She first sang at Florenco to the drama was, however, manifested in every possible way, and woe

in the Philharmonic Concerts, and subsequently in opera. After singing to the unfortunate little child who, having heard from an elder com

in several Italian cities, she filled a highly successful engagement at panion of the glories of Fairy Spectacle or the fun of Christmas Pan

Amsterdam, where she was engaged by Mr. Ullman for the New York tomime, ventured to express in the presence of a Puritan an innocent

opera. She has played in several characters, the most successful being wish to behold such things - assuredly the Solomonian counsel was not

her arch personation of the Page in the Ballo in Maschera, and no forgotten. Such were among the results of trusting to the moderation

other vocalist has yet attempted the rôle in this country. In the future of Sectarianism.

representation of Il Ballo, our opera-goers will recall with regret the charming vocalisation and animated action of Isabella Hinkley. A little over a year since Miss Hinkley was married to Susini, whose grief at his sad loss is intense.—Dwight's Journal.

COPENHAGEN.-A great sensation is being produced here by a singer

of the name of Nyerup, formerly a fisherman himself, in the character STAGE-CHORUS-SINGING.

of Masaniello. A musician, having accidentally discovered that the Sir,- Would you oblige me by informing me the means of applying young man possessed a wonderful voice, prevailed on him to study for a chorus singer's place in the English Opera; what the reqnirements singing. Nyerup studied for two ycars. He has now appeared, and is are; and what the salary is, and if much cultivation of voice is required? | described as a perfect phenomenon. He has sung Masaniello in La I have a very high clear soprano voice, and very powerful, but not Muette fifteen times successively. Perhaps he is another Wachtelcultivated much at present. I can read difficult music at first sight. “Masaniello" vice “ Postillon de Lonjumeau." If you would answer these questions, you would confer a very great favour on yours respectfully,

J. G. [We may perhaps best serve J. G's ends by publishing her

THE BROKEN HEART. letter.-Ed.]

(For Music.)

He never came, he never came,

She ever, ever breath'd his name,
Sir, Could you, through the medium of your columns, give me an

Her life's dream was the eve they parted; account of the large organ in the Crystal Palace? I enclose my card,

And as appear'd the daisies pied, and am yours, &c.,

With fragrant zepbyrs at spring's tide, August 6, 1862.

G. B.

Still dreaming she would be his bride, . [Will one of our organ contributors --- say H. S.- take this

Still remembering him she diedmatter in hand ?--Ed.]

Broken-hearted -- broken-hearted !

Letters to the Editor.

Clematis and primroses gay
Were budding when he went away,

The cowslips smil'd the eve they parted;
Long weary years have flown since he,
To seek a fortune cross'd the sea ;
To hide her grief she ever tried,
And with a smiling face she died-

Broken-hearted-broken-hearted !

LUCY, AND NOT LUCINDA. Sir, --Allow me to protest against one-fourth of your intelligent remarks on Macfarren's setting of Wordsworth's poem of “ The Lost Love,” which appeared in your recent notice of a “Monday Popular Concert” which took place on Tuesday. You describe it as “a new and pretty ballaıl called 'Lncy.'” Now, I ask you, as a man of the “World," is it right to destroy classification in the social system, or is it any better to con found definitions in musical terminology? That the song in question is “called Lucy" I do not question; that it is “new” I freely admit ; that it may be “ pretty" I am willing to allow; but that it is a “ ballad" I utterly deny. I have not Hamilton's Dictionary of twenty thousand musical terms, but without reference to this interminable authority, I am ready to aver that the present acceptation of the term “ballad” is, a simplo melody which is repeated without alteration, to several verses of a poem. You agree with me in this, of course. Well then, Lucy” is no more a“ ballad ” than Beethoven's Battle Symphony is a broomstick, insomuch as it is a continuous composition, and not a repeated melody. Possibly you may think this a too nice distinction; if so, let it be a distinction

The message came across the sea,
Return to her no more would he,

The ocean's depth two fond hearts parted;
The roses went and came again,
Of jasmine pale she wove a chain,
Still dreaming she would be his bride!
Still remembering him she died -
Broken-hearted - broken-hearted !


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.. 28. 6d.

The Musical World.


Parepa, and Miss Eleonora Wilkinson; and as contraltos, TO ADVERTISERS.-Advertisers are informed, that for the future Mad. Sainton-Dolby, supported by Mad. Laura Baxter,

the Advertising Agency of THE MUSICAL WORLD is established whose rich voice will, doubtless, make its due impression on at the Magazine of MESSRS. DUNCAN DAVISON & Co., 244 the Gloucestriana

the Gloucestrians. A Festival without Mr. Sims Reeves

Á Festival without Me S;
Regent Street, corner of Little Argyll Street (First Floor).
Advertisements can be received as late as Three o'Clock P.M., on

would be Hamlet without “Hamlet.” It seems, therefore, Fridaysbut not later. Payment on delivery.

almost superfluous to mention the name of our English

tenor, to whose “ first fiddle” the eager Mr. Montem Smith @rome Two lines and under Eims | Every additional 10 words

plays “second.” Mr. Weiss once again takes his position at

... Od. To PUBLISHERS AND COMPOSERS.--All Music for Review in THE

the head of the basses, as of yore, Messrs Winn (bass) and MUSICAL WORLD must henceforth be forwarded to the Editor,

Sig. Bossi (voce di accommodamento) completing the list of care of MESSRS. Duncan DAVISON & Co., 244 Regent Street.

“principals." A List of every Piece sent for Review will appear on the Saturday

Of the programme we can give but a brief outline. A following in THE MUSICAL WORLD.

full cathedral service on Tuesday morning, with a sermon To Concert GIVERS.—No Benefit-Concert, or Musical Perform

by the Lord Bishop, precedes the Creation; Wednesday, ance, except of general interest, unless previously Advertised, can Elijah; Thursday, Mendelssohn's Hymn of Praise, and a be reported in THE MUSICAL WORLD.

selection from Judas Maccabæus ; and Friday (of course), the Messiah. As usual, there are to be three evening concerts at the Shire Hall. On Tuesday two novelties are announced_Meyerbeer's “ Grand Exhibition Overture," and

Verdi's “Grand Exhibition Cantata ;" on Wednesday, the LONDON: SATURDAY, AUGUST 16, 1862. post of honour is occupied by Dr. Sterndale Bennett's

á Grand Exhibition Ode;" and, on Thursday, Mr. Benedict's

Undine will engross nearly the whole of the first part. The LARDLY will the doors have closed upon Mr. Gye's

overtures are Egmont, I1 Flauto Magico, Der Freischütz, 1 campaign, and the foreign contingent have taken its

and Guillaume Tell. Selections from Handel (Acis and departure laden with English guineas, than the exclusive

Galatea) and Mozart, together with the accustomed showreign of native talent will begin, and country and conti

pieces of the most favoured artists, make up the rest. We nental visitors be afforded an opportunity of hearing the

have only two objections to offer_first, the excessive length voice of Miss Louisa Pyne warbling to English verse (more

of the programmes; and, secondly, the absence of a symphony or less poetical), and beholding the skill with which Mr.

- the former, perhaps, being a valid excuse for the latter, Alfred Mellon “wields the baton” at the head of his well

although we could have dispensed with a heap of trivialities trained orchestra— the English Opera this season commencing

for the sake of hearing one great work performed by the some two months earlier than usual. While, however, the

band at Mr. Amott's disposal. Meanwhile it is satisfactory capital is thus well provided, let us see what is to be done

be done to know that, owing to the indefatigable exertions of Mr. H. in the provinces, this being about the time when the business

Brown (hon. secretary), the prospects of the meeting are as of “music meetings" is finally and definitely arranged.

flourishing as on any occasion that can be remembered. Usually it falls to our lot to write the history of at least a couple of “Festivals,” Worcester being followed by Norwich, Hereford by Birmingham (and Leeds ?), and Gloucester by Bradford. This year should be the turn of Gloucester MHE Paris Cirque and the Paris Théâtre Lyrique hare and Bradford, and the reporter's duty to compare the dif 1 come to life again. On the 29th of July, the two new ference of musical effect in the nave of one of our finest theatres erected in the old Place des Châtelet were formally cathedrals and the area of one of our handsomest modern inaugurated, in the presence of Prince Napoleon, the Prefect “ Town Halls.” But unfortunately (or fortunately - les of the Seine, and a host of invited guests. The doors of deux se disent), there will be but one triennial gathering, and the Cirque Impérial were opened first, and the crowd flocked that not in the seat of the great wool-ocracy, but in the into the magnificent building, the brilliancy of which dazzled grey old city which stands in the valley of the Severn, as every eye. Any comparison of the new house with the old redolent of peaceful beauty and fresh air as the north, theatres on the Boulevard, would be like one between the country town is teeming with life and shrewd activity, under | venerable Rue St. Jacques and the present Rue de Rivoli. a canopy of vapour to which the mist of London is but What surprised the public more than all was the mode of gossamer or spider's web.

lighting, based upon an entirely new system. A large The “fayre citye” will celebrate her hundred and thirty- | cupola throws down a flood of light, nearly equal to that of ninth festival in solitary pride. Notwithstanding the more day; neither chandelier, candelabras, nor girandoles are to or less heavy deficits, time after time, the meetings of the be seen. At the first moment, it strikes the spectator that Choirs still hold their place, and, by the aid of contributions the effect is too dazzling, but that is because he has been at the doors, hand over annually more or less handsome accustomed to smoky lamps, that merely rendered “darkness amounts to the charity which makes glad the hearts of visible.” When the performances have commenced, an clerical widows and orphans. Upwards of fifty right. | opinion on the modifications in this new system of illuminaminded gentlemen have proffered their names as stewards - tion, and of its capability of being diminished or increased or, in other words, guarantors, against any disparity that according to the requirements of the stage, will be more may result between expenses and receipts; and as the easily formed. From the Cirque the visitors proceeded to majority are possessed of local influence, there is good the new Théâtre Lyrique, in the same Place. Here, too, there warrant for auguring a successful issue. The artistic side is no chandelier, the light, as in the former instance, falling of the question looks equally promising, the engagements from the ceiling, but not, it was remarked, with such glaring having been made in a liberal spirit, and the best available intensity. The audience part of the house is beautiful, and talent secured. As sopranos we find Mlle. Titiens, Miss well fitted-up; the saloon is spacious; while the corridors


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