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out, interpreted, made manifest to all ears and all souls; and TULLUS HOSTILIUS asks for some authentic information respecting the
it is only by forgetting himself in the whole, by partaking Drechster-Hamilton family.
of a common enthusiasm to the last, as much as in an army Mr. A. Hamilton, the father, is a resident musician in Edinburgh fighting for his country, that the individual member fully and of some standing. He had a complete education in Germany in fairly does his part, and at once gives and gets the value of his youth under the late Herr Schneider and other masters. He
| his labour and his time. All this combined labour is ex. made the acquaintance of the Drechsters, and married a sister of the late Louis Drechster, the violoncellist. Besides the father's instruc
pended upon subjects which are high and worthy, upon works tions the children have had teaching in Germany, especially Bertha, of Handel, Bach, Beethoven, Mendelssohn- works of genius who made quite a sensation at one of the courts there. This young which has not trifled with itself, nor compromised the divine lady, aged 12, plays the 1st violin ; Emmy, aged 10, 2nd violin ;
gift for mean considerations, works to which Music points as and Charles, aged 14, the violoncello. The father plays the viola
her title-deeds to equal dignity with other Art, with Science, in the quartets, and the pianoforte in the other pieces. The children, in addition, all play the pianoforte.
Poetry, Philosophy, Theology itself. Engage all the singing choirs and circles of the towns in preparation for a joint
production of the Messiah, or Israel in Egypt, or Elijah, and NOTICES.
you divert so much of the so-called musical taste, that is To ADVERTISERS.-Advertisers are informed, that for the future scattered all about, from trivial indulgence, from wasting
the Advertising Agency of THE MUSICAL WORLD is established itself on sentimental, superficial, trashy music; you lift it at the Magazine of MESSRS. DUNCAN DAVISON & Co., 244
above the humdrum of too temptingly easy, unedifying, unRegent Street, corner of Little Argyll Street (First Floor).
rewarding common-places, like so many thousands of the Advertisements can be received as late as Three o'Clock P.M., on Fridays—but not later. Payment on delivery.
psalm-tunes made to sell, by ministering to the lazy and yet
steady appetite which they perpetuate. (Those things beget ... s Two lines and under
... ... 28. 6d. ems | Every additional 10 words
a lazy habit in the musical propensity, which, lazy as it is, ... ... 6d.
is still a great consumer, too lazy in fact to digest any other To PUBLISHERS AND COMPOSERS.-All Music for Review in THE than the characterless food which the psalm-book makers MUSICAL WORLD must henceforth be forwarded to the Editor, care of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street.
keep supplying in quantity as inexhaustible as the quality is A List of every Piece sent for Review will appear on the Saturday
unexhausting, as for any strength there may be in it.) A following in THE MUSICAL WORLD.
| Handel Festival, then-or if you pleasc a Bach Festival, or To CONCERT GIVERS.—No Benefit-Concert, or Musical Perform
a Mendelssohn Festival—is an admirable organisation to draw ance, except of general interest, unless previously Advertised, can
the musical passion and activity of a people into a worthy be reported in THE MUSICAL WORLD.
and a high direction, to enlist its sympathetic zeal, its esprit du corps, in an effort wherein they may begin to feel sone realising sense of Art. For listeners, as well as singers, what an initiation those memorable three days at the Syden. ham Crystal Palace must have been into the music of
Handel ; how much they must have done to make Handel's LONDON: SATURDAY, AUGUST 23, 186 2.
sublime conceptions known and appreciated!
And now we come to the feature in this Festival, which, LET US TAKE A LESSON.
if well considered, may be turned to good account among
ourselves in America. We have seen that not less than one To the Editor of the MUSICAL WORLD.
hundred and twenty English towns and cities were repreSIR,—The accounts of the great Handel Festival in Lon- sented in the Handel choir. We have seen, too, that the
don, which have already been laid before the readers of | Handel Festival takes from this time forth the character of the Boston Journal of Music, suggest some things which | a permanent institution, and will recur triennially. If one we might emulate over here to good advantage to the cause hundred and twenty towns have been busying themselves for of music in the country, even should we have to begin on a a year past in preparing for it, how many more towns is it comparatively small scale. Of the great moral public good not certain will bestir themselves to have a part in the next of such Festivals there cannot be any doubt. If only by one, and fill up the three years' interval with practice on the gathering together the musical faculty and feeling that lies mighty choruses? We see at once that it ensures the pracscattered here and there in individuals and in separate small tice of all the local choirs and singing bodies through all communities, and by concentrating it all for a time upon | England, during the next three years, upon the music which some high and glorious attempt at expression, like the worthy | is best worth their study, which is most stimulating to high rendering of a Handel oratorio, it is clear that the love of artistic earnestness, most satisfying, most improving, and music, the artistic aspiration and enthusiasm, must be largely most wholesome to our social, moral, spiritual nature. These quickened and developed ; that it must become deeper, purer, choirs studying their lesson in so many towns, these local stronger where it existed already, and must spread beyond “contingents” of the Grand Choir, the Festival chorus, are the former narrow circles of its influence. After such so many “camps of instruction,” for ever organising, drille hearty general cooperation, such concentrated effort and such | ing, and keeping all ready against the actual campaign, triumph, a new artistic fervour must be generated, and the / which is the next Triennial Festival. Who does not see result will be truer music-lovers and more of them. Another that it ensures an immense amount of wide-spread, wellgood effort will be to dignify and consecrate such musical directed, wholesome musical activity, and that such camps life as may be in us, feebly and blindly struggling for ex- of instruction, with high active service full in view, must istence, or indolently running to waste. A high and noble develope musical resources as rapidly as they do military! task is set to all the singers ; immortal masterworks, full of One year of their influence must produce more improve sublimity, of beauty that can never grow insipid, of meaning | ment, than many years of all our present singing schools, which we enter into more and more as we enter more deeply church choir meetings, musical “conventions," and waar into the mystery of our own life, are to be performed, brought | not. And for this reason : that a unity of aim, of spirit and
The Nilusical World.
of method must prevail throughout; a common loyalty con- set the ball in motion? who will undertake it? Here is nects the remotest members to the head; and the head in such an opportunity for our old Handel and Haydn Society ;a case, the bringing out of such great works on so great a scale, or for a new society, if they lack the impulse;– or for one must necessarily be the very highest musical authority and energetic, organising, and enthusiastic man, who may have faculty in the community; his influence then, (or their it in him to lead, or find the leader. Better than either, influence, if we suppose a central controlling committee, perhaps, would be, that the Directors of the Boston Music must extend down through all the ranks, even to the Hall should take the initiative; this might obviate the humblest, most remote contingent." The lowest choir, difficulty of possible jealousies or questions of priority away down in the most elementary stage of practice, has all between societies, or professional leaders. They have the the time an upward reference to the highest, to the head place, the temple for it; they will soon have in it the noblest that directs all, to the high purpose for which all are labour- organ on this continent, one of the noblest in the world ; ing, and to which that head stands nearest. In the English | they represent the purely musical aspiration of the comtown and choir practice for the Festival, Mr. Costa becomes munity, and could mediate between professional interests ; virtually the teacher of them all, virtually, though it be they too might command the capital necessary to outlive the vicariously, present in all their several localities. In fact this one or two first possible failures (pecuniarily) of the experiunitary drill for the Handel Festival, through all the camps, ment and put it on a firm foundation, while they would sets Handel himself, standing behind Costa, to teaching and represent that disinterested desire of Art for Art's sake, educating the choral masses of all England. So here we which would ensure the appropriation of the profits to the have a bonâ-fide Academy, improvising itself for a special public ends of Art.
J. S. DWIGHT. occasion, and teaching by authority of the very highest, on Boston, Massachusetts: August 9, 1862. a uniform method, by one and the same inspiration, throughout the length and breadth of the whole land. We are no longer dependent on a hundred little rival teachers and A CORRESPONDENT who signs himself “A German 6 professors," a hundred separate crude notions and experi
A in London,” wishes to know why in England, where ments; even the rivalries, and varieties, and the vanities of it is made a matter of boast that the “great masters” the several teachers are absorbed into one greater current are held in such profound reverence, and good music is so enriched by them all, correcting, reconciling all, and tending dearly and universally prized, so little respect is paid to the to a common purpose, over which presides a real head. Now most illustrious composers at the Italian Opera? He affirms all this, I say, which has been done in England, we in that such performances as Guillaume Tell, the Huguenots, America, in Massachusetts certainly, may emulate, although Masaniello, and other works of the French repertory at the at an humble distance and with far smaller means. We, too, Royal Italian Opera, would not be tolerated at the Grand may have Handel Festivals. Indeed we actually have had Opera of Berlin, and on that ground insists that there is more one, only a few years ago here, in our Music Hall, under the “true regard” for music of the best kind in Prussia than in lead of our Handel and Haydn Society, in Boston. Musically,
Musically. England. socially, it was a great success for å first experiment. It If there was no music but operatic music, we might pershould have been followed up till it became an institution ; | haps feel inclined to take part with “A German in but the pecuniary reward fell so far short of the moral that London,” since, indeed, we have had, even at our “ model” the managers have not thus far had the courage to try again. operatic establishment, but too frequent causes for complaint, If the first trials of steamboats and cotton factories had been apropos of the sad havoc made with the scores of operas. as readily abandoned, we should now know neither of those | The changes and excisions which have been effected in such blessings. Certainly enough was done to show what could master-works as Guillaume Tell and Masaniello are nothing be done in Boston, with more time and preparation. Three short of profanation, and cannot be defended on any ground days of Oratorio, with Symphony concerts interspersed, a of expediency. If abbreviations are rendered imperative glorious orchestra, and an effective chorus.of 600 voices, by the extreme length of the operas, surely it would be left an impression on all hearers, which through all their lives better to leave out whole pieces — even entire acts will be inspiring.
than destroy the compactness and completeness of one perWe can and we ought to do much better, and do it fected number. Rossini and Auber are both consummate periodically, until it becomes a part of our national existence. | artists, and have written nothing in their graver works Now is always the best time to begin it; and now none the without a great artistic purpose, When, therefore, we find less because we are engaged in war. “In time of peace Guillaume Tell and the Muette so irreverently hacked and prepare for war” is a good maxim ; but it is equally good cut about as they are at Covent Garden, we are tempted to the other way-in war prepare for peace. We war in think that “A German in London” is not altogether in defence of our civilisation, and it is well to keep civilising error, and that, as far as regards the music of the theatres, influences and agencies in as full and steady practice as the they manage these things better in Germany. As the press times still permit. It would be the worst possible economy seldom or never complains, the general public are ignorant of to abandon them altogether, to let art and gentle culture | their loss, and putting the most implicit faith in the musical "slide,” because fighting has become imperative. It is not director, are satisfied with the results, and accept all with more recruits that music wants, so much as clearly understood | gratitude. The director, with perhaps the loftiest notions of high direction and proper organisation with those already | Art, and a real worshipper of the composer, is allured to do occupied with it, to make their studies and their efforts bear evil that good may follow. He draws his pen across the upon a high purpose in a more favourable future. The plan score of Guillaume Tell here and there, and while ruthmay be arranged, and, however far off the execution, the lessly mutilating one of the most consummate works of Art nuclei may be established and set to practising, the “ camps bequeathed by Music to the world, haply consoles himself of instruction” may be opened here and there among the with the reflection that the mutilation was necessitated, that towns and choirs, and much of all that is done may tend to it was impossible to give the work in its integrity and make the Festival, in God's good time, possible. Who will entirety, and that, to sow a love and admiration of it in the
popular mind, it was requisite to present it even in a broken | Zitterbarth advanced a considerable portion of the money state, and call attention to its beauty and greatness by and the new house, built by Herr Jäger, on the plans of degrees. But this excuse cannot be pleaded. The grandeur Herr Rosenstengel, Imperial architect, was opened on June and completeness of the productions is blazoned on walls 13, 1801, with Alerander, an heroic opera in two acts. and in journals, is proclaimed authoritatively by the manage libretto by Schikaneder, music by Franz Teyber, and an in: ment, and the world is called upon to pay homage to a troductory piece entitled Der Traum des Thespis (The stupendous work of art, brought out with every regard for Dream of Thespis). its worth and magnitude.
In 1802, Schikaneder gave up the license to Zitterbarth The best defence the musical director can set up is the alone. The latter sold the theatre, in 1804, to Baron Peter lateness of the hour at which the performances commence, von Braun, who had managed both the court theatres since altogether precluding the possibility of giving the whole of 1794, and who, from February 15, 1804, undertook to manage an opera belonging to the French grand school, and enforcing the Theater an der Wien as well. He sold it again, in the him to reduce the period of the representation within certain year 1807, for the sum of a million florins, in bank-riotes, limits. He has a difficult task assuredly. Obliged to con to à company of noblemen, among whom were Prince dense, the work is sure to suffer, and critical objurgation Nicholaus Esterhazy, Prince Schwartzenberg, Prince Lobmust inevitably follow. Judgement and discretion, however, | kowitz, Count Lodron, Count Ferdinand Palffy, Count are at his command, and with these, when it is imperatively Zichy, and Count Ferdinand Esterhazy, to whom he made called for, abridgement may be effected without injury, and over, also, the remainder of his lease of the two court change accomplished without radical subversion.
theatres. In a few years, however, the society was dissolved At Berlin the director is required to make the slightest on account of disagreements among the members. Prince alteration only. The audiences are educated to operas Esterhazy left it first, and then Prince Lobkowitz. At the reof excruciating length, and look for no less, and as the quest of Count Ferdinand Palffy, the Emperor, in January performances commence an hour and a half earlier than 1813, put both the court theatres under the care of the state, with us, the use of the pruning knife is not demanded. and appointed the Baron Claudius von Fülzod manager. So far, certainly, “A German in London” is correct Count Palffy came to an agreement with his noble partners, when he states-alluding to operatic performances — that and took the Theater an der Wien on his sole responsibility. even the French show more respect to the “ great! On January 20, 1817, Carl Friedrich Hensler entered on masters” than the English. But the Opera is the true the artistic direction under Count Palffy, but gave it up in six field of the musical glory of the Gaul. It is there they | months. As the receipts did not cover the expenses, Count collect their largest and most stately forces, display their Palffy obtained permission to have the theatre drawn for in proudest banners, and achieve their greatest victories. It à public lottery, and at the drawing held on August 31, is not to be wondered at that a Frenchman's educated | 1820, a certain Herr Mayer, from Tirnau, was the winner. intelligence should acknowledge no other musical arena, and Count Palffy bought this person's rights, and retained the that a battle on such ground, however interminable and theatre, which, from December 1, 1821, he made over to the boisterous, should be received with gratitude and tenderness. lessee of the Imperial Opera House, Sig. Dominico Barbaja, That a Frenchman has greater patience or a more hungry from Naples, to be carried on for their mutual benefit. desire for operatic music than an Englishman cannot be 1 On August 21, 1822, both operatic companies were united, denied.
and placed under the management of a music committee, the chairman of which was Count Robert W. von Gallenberg.
This amalgamation lasted till the end of March 1825, when MHE following sketch will give a fair idea of the fortunes | Barbaja's lease expired. The Theater an der Wien was
1 of the Theater an der Wien from the earliest date. The still carried on, though with only indifferent success, for å materials for it are taken from the rich store of information few months, but, on June 1, 1825, it was closed indefinitely. which Dr. Leopold von Sonnleithnerr has collected towards | On August 19, 1825, the theatre was reopened by Herr Carl a history of the theatres of Vienna.
Bärnbrunn-then manager of the Isarthor Theatre, Munich, As far back as the year 1783, Herr Wilhelm, a theatrical who had gone with his company to Vienna for the purpose manager, erected a theatre in the riding school of the edifice of giving performances, which he continued up to April 30, belonging to Count Losi, in the Wieden, but it was soon 1826, after having, from November 1, previous, incorclosed. In 1786, a certain Herr Franz Leimberger also porated in his own company the members of the Pension erected a theatre in the Wieden, in the house known as the | Fund of the Wiedner Theatre. From May 15 to July 15, 1826, “ Tin Tower." But this theatre, like the other, was speedily the theatre was carried on by the united companies of the shut up. Subsequently Herr Rossbach built a theatre, opened Josefstadt Theatre and the Theater an der Wien, under the October 7, 1787, in the large courtyard of Prince Starhem direction of F. Hensler's heirs, and then, from October 3, berg's mansion, on the spot where the steward's house after. to December 15, 1826, by Herr Carl (Börnbrunn) and wards stood.
Company. On December 15, 1826, in consequence of an On the retirement of Herr Rossbach, the management was execution having been issued, the theatre was put up to undertaken, in the year 1788, by Herr Friedel and Emanuel auction, and knocked down to the heirs of Baron Wimmer Schikaneder, * who, in 1791, obtained a regular license. | for the sum of 147,000 florins. It was then kept closed till Instead of Herr Friedel, first Herr von Bauernfeld, and then June 27, 1827. On June 28, 1828, Carl and Co., having Herr Bartholomew Zitterbarth (a merchant), entered into taken a lease for six years, reopened the theatre. Meadpartnership with Schikaneder. The last two, encouraged by while, the Baron von Hruschowa (as one of Baron the continued good business, resolved to build a large new Wimmer's heirs) obtained permission, in April 1828, to theatre on the Wien, and to transplant their company thither. have the theatre again played for in a lottery. Notwitha
standing this, the theatre remained in the possession of * Emanuel Schikaneder was born at Regensburg, in 1751, and died
Baron von Hruschowa and his heirs, and the lease was at Vienna, September 21, 1812.
extended to April 1845.
At the auction of April 15, 1845, Herr Franz Pokorny (at that period proprietor and manager of the theatre in the Josephstadt) bought the Theater an der Wien for 199,000
ROYAL ITALIAN OPERA. florins, and managed it up to his death, on August 5, 1850,
The season terminated on Saturday with the fifth performance of Auber's when it went to his heirs, and was carried on by his son,
| Masaniello, on the whole one of the best since the “revival.” Herr Alois Pokorny.
The house was crowded in every part, and the opera was heard from end to end with unmistakeable satisfaction. Sig. Mario on Saturday was in
splendid voice; and his vocal declamation alone might have been a NATIONAL CHORAL SOCIETY. - The Messiah was performed at
lesson to those who are capable of profiting by good examples. Thus the Exeter Hall on Wednesday evening, by the above Society, under the
"musical" was not as is sometimes the case-thrust into the shade by direction of Mr. G. W. Martin, the solo vocalists being Mad. Laura
the "histrionic" part of his performance. Mad. Dottini, the successor of Baxter, Mr. Wilbye Cooper, and Mr. Weiss. The hall was so crowded
| Mlle. Battu, as Elvira, has a pleasing voice-what is wanting being that that another performance is announced for Monday week.
experience without which proficiency, in the absence of positive genius, CRYSTAL PALACE.- (Communicated.)– The great excursion of the
ne great excursion of the
is not to be
is not to be expected. Sig. Graziani's Pietro exhibited a little more Foresters last Tuesday, when 83,721 persons were present, passed off
spirit than usual; but the genial barcarole in the last scene would be without the least accident to the assembled thousands, or appreciable | infinitely preferable if given from beginning to end in as nearly as posdamage to the gardens and Palace. The large excess of visitors was
sible the same time, instead of being so sentimentally “ dragged" in the doubtless owing to the unusual number of excursionists from the
second part. Mlle. Salvioni's Fenella improves on acquaintance ; and provinces and abroad visiting London for the International Exbibition.
though, strictly speaking, it is a choreographic rather than a dramatic It is anticipated that as the harvest progresses excursion visitors will
representation of the character, it is the most graceful that has been still increase in numbers. The liberal policy of the directors of the
witnessed at the Royal Italian Opera since Pauline Leroux, who-with Crystal Palace, in providing some special daily attraction, is evidently
the exception of Monti, the “ Rachel ” of Pantomime-was, perhaps, appreciated by the tens of thousands visiting the Palace; and as it is
the best ever seen in London. The band and chorus need no praise. found to be a great convenience to the excursion public to know | The overture, as usual, was enthusiastically redemanded; and the prayer beforehand the speciality provided for each day, a wcekly list is issued, I in the market-scene made its accustomed impression. As a lyric spec. in order that choice may be made by visitors of the day most interesting tacle this revived Masaniello is one of the most remarkable in the annals to them. On Monday, Tuesday, and Wednesday next the great of Covent Garden, and scene after scene, situation after situation, raised Poultry, Pigeon, and Rabbit Show will be held, and as upwards of the sympathy and applause of the audience. eight hundred pens are entered for exhibition, a very large show is
After the opera the National Anthem was given-much as usual at anticipated. On Thursday, 28th, M. Blondin will exhibit on the the Italian Opera—the audience, according to custom, rising to the high rope over the fountains. The extraordinary display Blondin familiar strains. made at the Foresters' fête has popularised his exhibitions, if possible, to a greater extent than heretofore. For those who prefer witnessing Blondin's feats without the fear excited by the great elevation of the
HER MAJESTY'S THEATRE. high rope, he will give a low rope representation, in the centre transept, The performances at reduced prices, “without the restriction of evening this day (Saturday), which is now a Shilling day. Yesterday the costume," seem to answer the purpose of the management. The first Great Fountains played their full height. Each of these displays eight were succeeded by four others, the last of which took place on requires upwards of one million nine hundred thousand gallons of water, Saturday, for the benefit of Sig. Giuglini , and these were so well the centre jets being higher from the basins than Bow church steeple attended that a third series is to follow. The most admired operas of from the level of Cheapside. Besides the above special attractions, a the repertory have been alternately presented, Robert le Diable, the very interesting meeting will be held on Wednesday, of the Deutches | Huguenots, Norma, and the Trovatore-owing chiefly to the splendid Turnfest, or German Gymnastic Association. Great attention has of voice and fine dramatic genius of Mlle. Titiens, “the German Grisi " late been given throughout Germany to institutions connected with -- attracting the most crowded houses, and meeting with the most athletic sports and exercises; and one held last autumn created the unanimous approval. Now that Mlle. Trebelli, the Sisters Marchisio, greatest public interest, many thousand Germans taking part in the and other artists have taken their departure, indeed, Mlle. Titiens and proceedings. This will be the first gathering of the sort in this country, Sig. Giuglinje supported by M. Gassier and Sig. Vialetti, as baryand is likely to excite considerable attention.
tone and bass, with the diligent Mad. Lemaire as contralto, second M. Rocer, the tenor, offers for sale in lots his estate of Villiers-sur
soprano ("comprimaria ") or anything that circumstances may require, Marne. One clause in the contract binds purchasers to preserve for ever
and Mlle. Michal, the Swedish bravura singer, for such parts as Marthe names given to these lands, thereby perpetuating the glory of the
guerite and Isabella — must sustain the whole weight of responsibility in principal lyrical works in which the singer has distinguished himself.
the operatic line, until Mr. Mapleson may think it expedient to close the So that the streets, avenues, alleys and roads will bear the following
doors of Her Majesty's Theatre, and allow us the opportunity of making names :-“Grand avenue du Val- Roger;” “ Avenue Halévy;" “ Boule
a few general observations on this his first and in many respects highly vard Meyerbeer;" “ Boulevard Auber;" “ Allée de la Favorite;" "Allée spirited and creditable campaign. de la Dame Blanche;" “ Avenue du Prophète;" “ Avenue des Mousque The opera on Saturday night was Flotow's Martha — about which taires;" “ Avenue des Huguenots;” “ Avenue de la Sirène;" “ Avenue
little more need be said than that Mlle. Titiens and Sig. Giuglini de la Reine-de-Chypre ;” “ Avenue Haydée;" “ Avenue de l'Enfant.
were received with the same favour as usual in the characters of Lady Prodigue;" “ Avenue du Domino Noir;" “ Avenue de Juif-Errant;"
Henriette and Lionel ; that Mad. Lemaire played Nancy, Sig. Bossi “ Avenue de la Part-du-Diable;" “ Chemin d'Herculanum;" “ Chemin
Tristan, and Sig. Vialletti Plumkett; and that the accustomed de Lucie;" “Allée de l'Eclair;" “ Allée de la Figurante."
" sensation" was produced by Mlle. Titiens in “ The last Rose of
Summer,” by Sig. Giuglini in “ M'appari tutt' amore,” by Sig. Vialetti CARMARTHEN MOSICAL SOCIETY.-The last concert but one of the
in the apostrophe to “Beer,” and by the four principal singers in the season was entirely successful. The appointment of Mr. Whitaker
quartet at the “Spinning Wheel.” (formerly of Halifax), as conductor, has proved a judicious step on the
After the opera “a descriptive lyric, in four parts, the music by part of the committee, the concerts having progressed under his
Antonio Giuglini,” was given for the first time, much in the same management, and their value been enhanced by the formation of an
manner as regards stage effect, and with much the same enthusiastic, or effective chorus out of (it must be owned) very rough materials. On
seemingly enthusiastic, manifestations as Signor Verdi's memorable the present occasion the band played the overture to Masaniello, the
cantica, written for, but not accepted by, Her Majesty's Commissioners march from Le Prophète, and two dance pieces, while the chorus gave
for the International Exhibition. The name of the descriptive lyric is “ See the chariot at hand;" the part-song “ Dawn of Day;" part-song,
| L'Italia, and its purport very similar to that which lent to the composi* Down in a flow'ry vale,” and “Hail, smiling morn." The solo
tion of Sig. Verdi an interest far more than commensurate with its vocalist was Miss Burnett, who was encored in the Brindisi, from La
poetical, and a little more than commensurate, even with its musical Traviata, and an English ballad.
merits. The “ Antonio Giuglini," whose name figures as composer of HEALTH AND Music.-Why spend your money in paying for a the music, is no other than Sig. Giuglini, the esteemed and justly Turkish bath, when you can go to Exeter Hall and get into a eminent tenor, who undertook a conspicuous share in the performance. copious perspiration, and be squeezed to a degree equal to any sham- Part I. is devoted to "a festival in celebration of the opening of the first pooing, for the small sum of from half-a-guinea to thirty shillings, Italian Parliament, contains an orchestral prelude, followed by a and hear an oratorio into the bargain ?-Punch.
dance with chorus (" Viva L'Italia"), in waltz measure. Part II. presents us with the toucbing spectacle of an Italian mother, who, at the “recalls "-he shared with his accomplished associate, Mlle. Titiens, siege of Gaeta, had lost two of her sons, but --- generosa donna, esempio were no more than a well-earned tribute from the public to an industrious di virtù e d'amor patrio — comforts herself on beholding “ the breach in and deserving favourite. the battlements " which leads to the final and triumphant assault, and On Monday the Trovatore, with Sig. Giuglini's new ode L'Italia. with patriotic ardour joins in the victorious shouts of the besiegers. On Tuesday Lucia di Lammermoor, and L'Italia. This is conveyed in a recitative, interspersed with "a march in the dis On Thursday Norma and L'Italia. On this occasion Mr. Swift was tance” (suggestive of the glad event in question); a slow air : - substituted for Sig. Armandi, in Pollio, and was a decided improve. “ Madri, spose, non tremate
ment. Our admirable English tenor showed his thorough familiarity Sul destino de vostri cari ;
with the Italian repertory, by undertaking the part at a short notice, Donne Italiche esultate,
and singing the music to the entire satisfaction of the immense audience, Son gli eroi di libertà," &c.
who applauded him in every scene, and recalled him after the trio with thoroughly in keeping ; and a martial allegro (“Quando la tromba"), I
Mlle. Titiens. Mlle. Louise Michal sang the music of Adalgisa with in which the chorus takes part. In Part III., a "mysterious voice from within ” (voce mortale questa non è) bids the Italians rejoice; the
great effect, and certainly, as far as regards the singing, sustained the “Genius" of the country exalts the patriotism of Victor Emmanuel ;
character better than any artist we remember for years. The house was and, lastly, one-in the name of the people--declares that, next to God,
suffocatingly full. the most holy love of Italy is due to Italy's king, vendice e messia
VIENNA. — From a private letter, addressed to Mr. A. W. Thayer, the Astro a te di libertà."
“Diarist” of Dwighe's Journal of Music, by Dr. Chysander - author This is conveyed in a recitative and terzetto, with chorus, including
of the new German biography of Handel, of which only the first two solos for tenors and barytone, or bass. In Part IV., the “ Genius of Italy” exults over the new destinies of the country and the con
volumes have yet appeared- the following is a translated extract :
“ The third volume of Handel will come out towards the end of 1862. summation of the “memorando evento," concluding with an apostrophe
* * * * * * * Before this third volume of Handel, that is to the king, to which the people respond with Salve Vittorio il grande!”
| about Easter, I shall publish Jahrbücher musikalischer Wissenschaft, -a resumption of the festival-song and dance bringing the “Descriptive Lyric Ode” to an end. It is remarkable that in the whole
vol. i. Among the contents I shall have-1. Pinetor's Definitorium, course of the “Ode" not a single allusion is made to the hero of
(printed in 1840) in Latin with a German translation edited by Beller. the “ Two Sicilies.” The English translation of the Italian text is
mann ; 2. Two short essays by Hauptmann ; then an article by myself
upon three German Folk's Songs of the fourteenth century; 4. History nevertheless conveniently “free "--as though to make it serve a more
of the Musical Chapel and Opera at Brunswick from 1580 to 1760 comprehensive purpose than that for which it was originally and
(Prætorius, Schütz, Grann). 5. Handel's Organ accompaniment to his ostensibly written (some ycars since)--viz., “the celebration of the opening of the first Italian Parliament."
Oratorio Saul, and a criticisin of Rimbault's edition of the same ; 6. Take au example :
Origin of “God Save the King” (a long article); — and close with “ Terra di Dante, compiasi
“criticism of the most important new works upon music.” Then follows Il memorando evento, Il gr do tuo dell'anima,
something in relation to another proposed article, in which, he adds, "I Solenne grido, io sento.
promise myself that these Jahrbücher (year books) will have many a Dall'Alpe al mar si spande, Salve d'Italia il Re !"
good influence upon art. For myself they offer no other advantage than Which is rendered as below by the translator :
this, for I receive not a penny of pay for my labor – all is gratis.
However, what is necessary must be, and can by God's help be accom" Oh, land of Dante, may his wish,* His hope, be now accomplished.
plished.” “If we only had more Chysanders!” — sighs the “ Diarist," One heartfelt cry, one solemn sound,
BOULOGNE.-The Philharmonic Society of Boulogne have given two
Concerts with M. Thalberg, at the Salle des Concerts, Rue Tibloquin, • God save Italia !
the second of which came off on Wednesday in presence of a brilliant One Italy, one Kiog!'"
and distinguished audience. M. Sighicelli, violinist, and Mad. Corinne The literal prose- rendering of the stanza, however, would be as de Luigi, vocalist-said in the bills to be a pupil of Rossini-assisted as follows:%" Land of Dante, the memorable event be accomplished! The soloists. M. Thalberg played the fantasia on Lucrezia Borgia, the cry of your soul -- a solemn cry-I hear. From the Alps to the sea it “Last rose of summer," " Home, sweet home,” and fantasia on La spreads— Save the King of Italy !"".
Muette di Portici-all his own composition and Chopin's Marche The “ Ode" was performed with every conceivable accessory of stage Funèbre. The great pianist was vociferously applauded in every piece. effect. The celebration is supposed to take place outside one of the Mad. de Luigi attempted an air from Semiramide, the rondo from gates of the city (Turin ?), which is triumphantly decorated with flags, | Cenerentola, the brindisi from Lucrezia Borgia, and “La Separation," standards, streamers, and all the insignia of patriotic demonstration. | dramatic melody, said in the bills to be composed expressly for her by The costumes of the singers and actors are appropriated to the circum Rossini. M. Sighicelli, a really good player, pleased much in Artot's stance, the Garibaldian paraphernalia being conspicuous. Mlle. Titiens, Souvenirs de Bellini and Ernst's Carnaval de Venise. The band played who represented the “Madre Italiana," was dressed in an imposing suit the overtures to the Philtre (Auber) and Diadeste (Godefroia -- not of black, with a tri-coloured scarf, and as, brandishing the Italian colours, Balfe )— no very extraordinary display for a “ Philharmonic Society." she rushed forward to declaim the martial strain, “Quando la tromba" BOSTON (Massachusetts).- Mr. John K. Paine had an audience of (like Rachel, with the “ Marsellaise,” in 1848), she fairly electrified the four or five hundred persons, at the Tremont Temple, to listen to his audience. Her performance was, indeed, throughout magnificent, and thoroughly competent interpretation of the great organ compositions of would have impressed her hearers under less exceptional circumstances. Sebastian Bach at his second performance in Tremont Temple. That Of course, Sig. Giuglini (the “Genius of Italy") was all that could be even this number of people should manifest the desire to hear music for wished in his own composition, and gave che solo “ Tu gemevi” which the taste has been so little cultivated, and even the ear so little admirably; nor could the apostrophc of the people's representative formed in our country, is a sign of progress in a high direction ; still (“ Dopo Dio, l'amor più santo ") have been more effectively delivered | more, that they should sit deeply impressed and delighted, as nearly all than by M. Gassier, whom the Garibaldian dress became to the life. | appeared to, to the end of such a programme as the following: The recitative allotted to the “ Voce miseriosa” was thoroughly well
Prelude and Fugue in G. suited to Mad. Lemairc. The band and chorus, under Sig. Arditi,
Trio Sonata in G, Ist movement displayed extraordinary zeal in the performance of their somewhat
Choral Variation (by request)
Toccata in F (by request) obstreperous, if not very arduous, duties. We have purposely left all
('horal Variation, “By the Waters consideration of the music to the last. The talent of Sig. Giuglini as a
Fantasia and Fugue in G minor
Concert Variations on " Old Hundred composer must be judged in an inverse ratio to his talent as a singer.
“Star Spangled Banner ”
: :}J. K. Paine.
. . . . . . Those who esteem him an indifferent singer (and we should think they are very few) may probably accept him as an excellent composer. Our
The Prelude and Fugue in G, with its long and curious theme, was own high estimate of Sig. Giuglini in the former capacity has been
| received in wondering silence, as was the Fugue with which Mr. Paine frequently and emphatically pronounced. We shall not attempt to
opened his former concert. Naturally those, who could best appreciate describe the “enthusiasm ” that followed the termination of the per|
| its art and feel its beauty, were not of the class much disposed to clap
their hands whenever they enjoy. The performance was admirably formance. It was Sig. Giuglini's benefit; and the bouquets, wreaths, and crowns that were showered upon the stage, and which-like the
clear, connected, firm; the several voices taking up the subject, whether by manual or pedals, being kept distinctly individual, while crowding
and swelling on like waves to a grand cumulative whole; for therein * " The Union of Italy” (Translator's foot-note).
is the very charm and secret of the fugue, therein is it the type of all