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" MOOD NIGHT," by I. LIEBICH. Reichardt's THE ARION (Eight-Part 'Choir). -_ Conductor, Mr.
*UT charming Wiegenlied (Cradle Song), transcribed for the Pianoforte by 1.
Liebech (forming No. 2 of Two Popular Melodies for the Pianoforte, by the above 1 ALFRED Gilbert. – The Members are informed that the next Meeting will author), is now published, price 25., by Duncan Davison & Co., 241 Regent Street, W. take place at 13 Berners Street, on Thursday, October 9th, at 8 o'clock precisely.Prospectuses of the Society may be obtained on application to the Conductor,
F. F. REILLY, Hon. Sec. " MOOD NIGHT,” by 'R! "ANDREWS. Reichardt's
U charming Wiegenlied (Cradle Song), transcribed for the Pianoforte by the
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I by Mr. Sims Recves with such immense success at Mr. Martin's (Exeter Hall),
Mr. Balfe's benefit concert at the Royal Surrey Gardens before 10,000 persons, 8s.;
LOVE YOU.” By EviLE BERGER. SIMs REEVES'
popular Ballad, composed expressly for bim by Balse, arranged for the PianoA sington.- A Lady, who has great pleasure and much facility in teaching, wishes forte by the above popular author, is now published, price 3s., by Duncan Davison &
RE.ENGAGEMENT AS DAILY GOVERNESS, in consequence of the family she | Co. 244 Regent Street, w.
popular Ballad, composed expressly for him by Balre, transcribed for the
Pianoforte by 1. Liebich, is now published, price 2s. (forming No. 1 of Two Popular I MUSICAL EDUCATION. 10. ,1., 24. Melodies for the Pianoforte by the above author), by Duncan Davison & Co., 244 YOUNG GENTLEMAN, of good education, and
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LASCELLES (the Poetry by CATHERINE WARFIELD) is just published, price 28. 6d., by Boosey & Sons, 28 Holles Street, Cavendish Square, Lo
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CLASSICS of VOCAL MUSIC in the TONIC SOL-FA NOTATION.
ROMBERG'S SONG OF THE BELL 0 9
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TVITU INTRODUCTORY BEJIARK3 OH THH STYLE OP PLATINO.
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London: U.;M ILLS and SONS, 140 Mew Bond Street.
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DEVONSHIRE LODGE, PORTLAND ROAD, PORTLAND PLACE, And at all the Principal Music Sellers.
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SANTA LUCIA, by WILHELM GANZ. A brilliant and effective Transcription for the Piano of this Popular Air. Price 3*. London: Ashdown and Parry (successors to Wessel and Co.), 18 Hanover Square.
JOHN FIELD'S SLX CELEBRATED NOCTURNES,
ll edited by Franz Liszt. Price 2s. each. London: Ashdown and.Parry ( sors to Wessel & Co.), 18 Hanover Square.
"POOD NIGHT," New Song by A. Reichardt,
\_F Comnoser of "Thou art Bo near and yet so far," is published, with Fnglish and German Words, and a Portrait of Herr Reichardt, price 2a. bd. by Duncan Davison tc Co. 241 Regent Street, W.
WILBYE COOPER'S NEW SONG, "The Meadow Gate," composed expresslvfor him by Georcb B. Alleh, is now published,
price 2s. Gd. by Duncan Davison and Co. 244 Regent Street, W.
"POOD NIGHT," Reverie by Kuhe on Reichardt's
popular Wiegenlied (Cradle Song), is now published for the Pianoforte, price 3s. by Duncan Davison aud Co. 244 Regent Street, W.
EYERBEER'S FOURTH MARCHE AUX FLAM
BEAUX (*' Royal Wedding March "), composed in honour of the Marriage of the Princess Royal of England witli Prince Frederick William of Prussia, which was played with such Immense effect by the Band of the Guides at the Fete of the Orpheonlstes at the Crystal Palace, is published for the Pianoforte, price 4s., by Duncan Davison & Co., 244 Regent Street, London, W.
"TF I COULD CHANGE AS OTHERS CHANGE,"
J- composed by M. W. Balke expressly for Madame Lai-ha Baxteb. and sail* by her with distinguished success at St. James's Hall And the Royal Surrey Gardens, li now published, price 2s. Gd. by Duncan Davison and Co, 244 Regent Street, W.
Some pieces signed by an unfamiliar name—Anton Ree— have sufficient cleverness combined with musical feeling to atone in a great measuro for their want of originality, amid other shortcomings. Published at Kiobenhavn (Copenhagen), we are unable to explain in what manner they found their way into the fish-pond we have recently begun to explore. At the same time, minnows though they be, we are glad to look at them. The least pretending, though not the least pretty, are three dance pieces (Op. 11) — "Ecossaise," "Polska," and "Bolero." Of these the most spirited and characteristic is the "Bolero." The "Ecossaise" has not a vestige of Scottish character ; but the "Polska " (the name of a Swedish National dance in threefour measure—not a bit like its near namesake, the Polka) ia qpaint and charming. "Deux Morceaux de Piano" (Op. 10) though infinitely more pretending than the foregoing, are not so satisfactory. "La Plainte" is an andante; "La Joie" is an allegro; both " Plainte" and "Joie" consisting of a sort of hash of Sterndalc Bennett, the latter seasoned here and there with sauce a la Dussek. It is difficult to describe these pieces ; but in looking them over, one can hardly get rid of the feeling that something of Sterndale Bennett is going on not exactly as it should, that is, not exactly as Sterndale Bennett would have written it. There is a hint here of his Allegro Grazioso in A major; a hint there of one of his three romances (the last, in G minor); a hint elsewhere of some other piece from the same graceful pen. The exquisite finish which declaroa the Bennett-touch, however, is not in the touch of M. Ree— who, but that he publishes at "Kiobenhavn," might have signed his name Rae, or Rca, or Ray, or Wray, or (for a trifle) Ra. "Ree" though he be, he is well acquainted with our own Sterndale; and also has a sly hankering for Dussek's Elegy (Op. 61—on Prince Ferdinand), the last movement of which—with the famous syncopations—he has unblusbingly parodied in page 10 (La Joie). "Unblushingly," we have said; nay—terrifically. A set of Cadences for Mozart's great pianoforte concerto in D minor—three in number— might have elicited unqualified praise as improvisations, or extempore productions; but (we submit it with deference) were scarcely worth publishing. The first (for the first movement) begins with a sort of parody of the "freakish" passage that runs through the finale of Beethoven's pianoforte sonata in F sharp major. In another place a fragment of Mozart's second subject is forced into wedlock with the accompaniment to a chorus in Mendelssohn's St. Paul (in E flat). Decidedly Herr (Mons. ?— Gospadin ?— Mynheer ?) Ree is not original. Cadence No. 2—for the same movement—has some bold (if not always exemplary) strokes, and is more to our liking than Cadence No. 1 ; the hint at another "freakish" passage in the slow movement of Mozart's own symphony in E flat being less open to criticism than the parody of Beethoven already cited. Cadence No. 3 (for the last movement of the concerto) is by much the weakest of the set, and contains, moreover (page 8), an attempt at canon on the fifth above, in which the keys of D minor and A minor are so clumsily alternated as to produce an effect infinitely more disagreeable than musical.
"Une petite Fleur," for the pianoforte, by Charles Luders, Op. 48 (Chappell and Co.), could hardly have been more fitly designated. A little flower it is, and no mistake. Moreover (an evident advantage) its fragrance is at the
command of the majority of amateurs. Though not by any means difficult, " Une petite Fleur" is, on the other hand, not so easy as to be played without some practice; but the trouble will be well "bestowed. It is as graceful as it is unpretending, and as well knit as it is graceful, declaring at once the taste that disdains common-place, and the ingenuity that can make what is simple at the same time interesting. Mr. Luders should manufacture a few more such " little flowers." They are worth the pains.
We had got away from the fish-pond. To return to it, however ; here is a minnow, or rather a stickleback, for in one place (page 2—line 3, bar 3, as far as line 4, bar 3) it decidedly sticks, or stickles. This is a setting of a smooth translation (by Mr. VV. Anderson) of Beranger's " Oiseau." The melody begins well and progresses well, until the point in question is reached. Here the key of B minor comes very uncomfortably, just after a six, five, three on D sharp has brought us into E major ; and the uncomfortableness is not atoned for by an abrupt return to the key in which the song commences (A major)—the melody jumping up to F sharp, while the bass climbs from D to E, as if to demonstrate that a progression of consecutive fifths was not the most disagreeable in the harmonist's index expurgatorium.
"The Bay of Dublin Quadrilles" — by Wellington Guernsey (Brewer and Co.) — represent a whole globe full of glittering minnows. The view of the famous Bay itself (from Kingstown Quarries) which adorns the title-page is alone an attraction, and calculated to raise a vision of herrings, or conjure up an exposition of mackerel. But Mr. Wellington Guernsey's fish, though lively and temptiug, are not of larger dimensions than properly appertains to the minnow tribe. On the other haud, all of them are extremely pretty and to the purpose. They might bo served up to Terpsichore, with the Guernsey sauce, and Terpsichore not be dissatisfied. To be literal—all the figures are as taking as they are Irish, spirited, rhythmical, and (as our ferociously vivacious neighbours say) "dansantes." Mr. Guernsey, in short, could hardly have selected more attractive tunes or have arranged them more "couvaniently. Two vigorous and excellent examples of the general treatment may be pointed out in "Ki3s me, Lady" and "Dermot"
"Still waters run deepest," words by "Zeila "; "Love's messenger," ditto ditto; "Song of the Survivor," words by the Rev. W. Calvert (Addison, Hollier, and Lucas); are all more or less worthy the well-earned reputation of their composer, M. Francesco Berger, being — though for the most part somewhat too elaborately written — invariably melodious. In the last of the three, however — besides a transition to A flat (the key of the song being G) in the opening symphony, which being made nothing of subsequently, is (to say the least) superfluous — we note a false relation (page 1—line 3, bar 3) between G natural in the first chord (six, three on E) and G sharp in the next (six, five, three on G sharp) ; further on (page 2—line 2, bar 3), a dissonance, composed of a major ninth, major seventh, and major sixth, on D, most unceremoniously taken, and decidedly objectionable; and still further, one or two other discrepancies which M. Berger might with advantage reconsider. Even the simpler (if not the better) song, "Love's Messenger," might be improved, with less endeavour in the harmony to avoid the beaten track. This overfastidiousness is indeed M. Berger's besetting sin. He has given way to it less manifestly in the Spohrish ballad, "Still waters run deepest," but even hero he may be
We hoped we had caught some trout!
MUSIC AND THEATRES IN PARIS.
Sept. 6, 1860.
The long-announced comic opera in one act, Lc Docteur Mirobolan, lias at last become palpable to the sense; and after the gloom of the long dreary wet summer, brings a welcome occasion for ft little wholesome laughter and enjoyment. This merry little production is founded on Crispin Medecin, by Ilauteroche, a writer who flourished in the last century, the date of its first appearance being 1764. It is needless to describe the plot, which savours of the broadest farce, and which, in the old piece, is treated with the license peculiar to the stage of that time. Much of the fun trenches on the delicate ground which Moliere almost exhausted in Le Malatk Imaginaire, and one of the principal scenes is that in which Crispin is laid out on a table in the place of a hanged criminal whom the Docteur Mirobolan is about to dissect. The authors of the opera, MM. Cormon and Trianon, have, however, dexterously softened whatever was too excessive in this species of humour, while retaining enough of the pith and pleasantry of the original work to engender the heartiest mirth without offence to the comparative squeamishness of modern audiences. The music, by M. Eugene Gautier, is entitled to a full share of the success which the piece obtained. It is extremely dramatic, and the resources of the orchestra have been well employed by the composer. Among the more successful morceaux were a lively quintet, a comic duo between Conderc and Mile. Lemercier, and a pretty little song by Conderc, who plays the Docteur Mirobolan admirably, as well lie may, for the part is exactly fitted to him. Mile. Lemercier also showed herself an actress worthy of the Theatre Francais, and might vie with the best soubrettes that have appeared in our day.
At the Grand Opera Le Prophete is announced for Saturday, when Mad. Tedesco will sing the part of Fides. The performance is to lie for the benefit of the pension fund of that theatre. Immediately afterwards, Mad. Tedesco and M. Niemann will place themselves at the disposal of M. Wagner for the rehearsals of Tiinnhauser. M. Obin, the excellent bass singer who lately distinguished himself in the part of Assur in Semiramis, is re-engaged for the ensuing season. Apropos of Semiramis, an edition of this opera is about to be published by the publishers of Le Menestrel in a very grand and luxurious form. It is to be adorned with two portraits of Rossini, one taken in 1820, the date of the production of Semiramidc, by the miniature painter Mceyer; the other from a recent photograph by Numa Blano. It is to be further illustrated by drawings executed by M. Belin, representing the principal scenes of the opera. If the material part of the work be on a level with this magnificence the result will no doubt be a very valuable discovery.
The new opera at the Opera Coniique, which is announced as forthcoming under the title of Le Itoi Barkouf, is the same which was spoken of under the provincial title of La Recolle dans VLnde. It is by MM. Scribe and Offenbach.
I was extremely amused the other day by a paragraph in a French musical journal, of which, that you may snare my enjoyment, I give you the exact translation :—" The impulse given by M. Delaporte to choral music, and the recent visit of the
Orpheonists to London, are bearing their fruits. Societies are in full progress towards organisation.' Is not this want of information and conceit incredible? Is it wonderful that a nation which can thus morally shut itself within an impenetrable Chinese wall, beyond which all is in its idea barbarian — is it wonderful that such a nation should be despot-ridden, as it always was and always will be? In the same paper, however, I a little justice is done to this country in the letter of a correspondent from London, who says:—" The English nation is perhaps the only one in the universe which does not think itself the greatest musical nation, whence it follows that it possesses at the present time the best music in the world"—meaning the best musical performances. The writer, however, goes on after this to brag about his own countrymen, and how they have curried the palm in everything during the late expired^ season, which is simply not true, but he is obliged to bolster up his assertion by claiming a whole list of people as French who are English, Belgian, Italian, &c.
Some of the Italian papers have been amusing themselves with murdering Vienxtemps at Stockholm by the hand of an assassin. These are the same bravos, no doubt, who aimed a deadly blow at poor Rubinstein last year, but did their work so badly that his mangled remains have been writing an opera for the couit of Vienna. Why did not the bunglers finish him?. As to the amiable Vieuxtemps, so scatheless has he escaped the assassin's dagger, that he has been, as I told you some weeks since, playing at Baden and at Hombourg, and was seen quite recently in Paris with not the slightest indication of the murderous attack upon him at Stockholm. The canard murderous is the most pitiful of the breed, and argues a terrible dearth of the imaginative faculty in the authors of his existence. I don't know whether the late announcement of another aristocratic marriage with an artiste is to be ranked with this sort of poultry—it is that of Mile. Nathalie Eschborn with Prince Ernest of Wurtemburg. It is gravely stated in the papers here, but I wash my hands of all responsibility in regard to its truth.
From Brussels I am informed that the Belgian Association of ■ Musical Artists has recently held its eleventh annual meeting, when the report of the secretary, M. Albert Delabane, was read, announcing that the capital of the society had increased from 85,000 fr. (£3,400) to 94,264 fr. (£8,770J. The society is composed of ninety-eight members. The municipality of Cambrai have offered for competition the design of a new theatre, to contain from eleven to twelve thousand places within an area fiftv-five metres in length by from twenty to twenty-two in breadth. There is evidently some error here in the number of seats.
The diapason reform proceeds. M. Calzado, the manager of the Italian Opera in Paris, is about to adopt it. The new instruments required to carry it into effect have been ordered and will be shortly ready. The pitch at this theatre was the highest of any in Paris, and it is said the singers will be grateful for the change. M. Calzado pays the expenses of the reform out of his own pocket. Lille has also adopted the new pitch, and here the city pays half the expenses to which the artists will be put by conforming with the alteration.
THE SAINTONS AT TOULOUSE.
(From the Journal de Toulouse).
Nous avons dit hier, en quelques mots rapides, que la Societe chorale de Clemence-Isaure avait donue une serenade a notre concitoyen M. Sainton. Cct hommage rendu au caractere et au talent d'un artiste de notre ville avait reuni a l'hotel de l'Europe un grand nombre d'amis de M. Sainton.
Apres l'execution de la Polka de Laurent de Bilk', du Veni Creator de Besozzi, et du Combat naval, dont notre compatriot* avait emporte' un bon souvenir a la suite du concert qu'il donna id, ii y a dix-huit mois, M. Sainton est venu remercier les Orpheonistcs et les feliciter de l'ensemblo qu'ils avaient montre dans l'intepretation de ces morceaux. Aux paroles bienveillsntes et flatteuses de M. Sainton, Mme. Sainton, nee miss Dolby, a vonlu joindre ses compliments et temoigner comme elle etait sensible a l'attention de l'Orpheon toulousain. Elle ne pouyait le