OCTOBER 13, 1860]

MUSICAL

DIRECTORY,

REGISTER,

MESSRS. BOOSEY & SONS,

28 HOLLES STREET, Oxford street,

AND In consequence of their discontinuing the Sale of Miscellaneous Foreign Printed
Music and requiring the Room for other purposes;
SYMPHONIES,

ALMANACK FOR 1861 will be issued early in December, Price 1s. Gd. ; per post, 1s. 8d. Advertisements, Lists of Music, Names and Addresses of Professors

and the Trade must be sent in before the 12th November, to Rudall, Rose, Carts, ORCHESTRE

Co., 20 Charing Cross.

SANTA LUCIA, by WILHELM GANZ.

DANCES, &c.

MILITARY and BRASS BAND MUSIC.

OVERTURES,

VIOLIN CONCERTOS-Septuors, Quintetts, Quartetts, Trios, Duets, and
VIOLONCELLO and TENOR MUSIC for ditto, ditto.

Solos.
A brilliant

Price 3s.

and effective Transcription for the Piano of this Popular Air. London: Ashdown and Parry (successors to Wessel and Co.), 18 Hanover Square.

THIS

MUSIC ROOM,

HOLYWELL STREET, OXFORD.

HIS ROOM, built expressly for Music, and acknowledged to be admirably adapted for sound, has been entirely renovated, and can now be engaged for Concerts, Lectures, &c.

66

Particulars may be obtained on application at the Room.

NEW SONG BY MRS. BLANCHARD JERROLD.

FLUTE MUSIC-Concertos, Septuors, Quintetts, Quartetts, &c., &c. CLARIONET, HAUTBOY, HORN, and BASSOON MUSIC, from Concertos to Solos.

HARP and GUITAR MUSIC, of all kinds.

PIANOFORTE MUSIC, from Concertos to Solos, including an extensive assortment of Music for Four Hands.

VOCAL MUSIC in Score, Oratorios, Operas, &c., &c. !

Ditto, ditto, with Pianoforte accompaniment.

THEORY and HISTORY of MUSIC.

Early applications are recommended as of many of the Works only one or two Copies are left, and the whole Collection must be cleared off in the course of a short time." Hours of Sale from 10 to 4.

OOSEY'S MUSICAL CABINET.-A New Series of Books are now ready.

OPINIONS OF THE PRESS :

OR EVER AND FOR EVER."-Song written by favourite operas; whilst another gives twenty of the Christy minstrel songs-so much

FOR

JERROLD.

ALFRED TENNYSON, to whom it is dedicated by Mrs. W. BLANCHARD

From the Illustrated News: "Tennyson's exquisite lyric has been as exquisitely set to music by Mrs. Jerrold." From the Illustrated Times: "The charming little poem of The River' has inspired Mrs. Blanchard Jerrold with a very beautiful melody which will henceforth be associated inseparably with Tennyson's words. The air is gracefully harmonised, and, altogether, this is one of the happiest musical illustrations' of Tennyson that has been produced."

LAURENT'S

London: Boosey & Sons, Holles Street.

VOURITE IRISH MELODIES, illustrated, price 3s. Holles Street.

LA

Boosey & Sons,

"We had imagined that the extreme point in cheap music had long since been attained; but that we were in error is proved by the present publication, which consists of a series of shilling quarto volumes embracing the best music of the best composers at a price below anything yet published; admirable in typography, correct in the text, and as excellent a production as the musician could possibly desire, it is really a marvel of cheapness. In one volume we have twenty of Mendelssohn's songs; in another, twelve of Balfe's most popular songs; another embraces fourteen songs from Verdi's for the vocal. The instrumental is no less extraordinary; for in one book we have fifty waltzes, chiefly by Laurent, Gungl, and Tinney; another gives twelve quadrilles, by D'Albert, Laurent, Nordmann, &c.; another, fifty polkas and galops; and another contains twenty-five of Verdi's gems for the pianoforte. Now, as all these are given at a shilling a volume, and as they are clear, distinct, and admirably printed, it is certainly an event in musical publishing, and will attract much attention, as it affords every musician an opportunity of having the best music at the smallest price."-News of the World, Sept. 30th.

"Eight numbers have been forwarded to us of a work, called "Boosey's Musical Cabinet," which is a perfect marvel of cheapness, and is, moreover, brought out in as good a style as if four times the money were charged. It will scarcely be believed that No. 1, price one shilling, contains twenty of Mendelssohn's songs, not a cramped ON FA- printing of the mere melodies, or an arrangement of them for pianoforte or other Instrument, but the actual songs, with English words, either original, as in the case of the setting of some of Byron's lyrics, or translations by Messrs. Desmond Ryan, John Oxenford, and George Linley, and with pianoforte accompaniment. The printing is clear, the paper is good, and the size convenient. No. 2 contains twelve songs by Balfe, including some of the settings of Longfellow; No. 3, fourteen by Verdi; No. 4, twenty of the Christy's Minstrel's songs; and Nos. 5, 6, 7, and 8 contain pianoforte music, thus assorted-fifty waltzes, twelve sets of quadrilles, fifty polkas and galops, and twenty-five favourite morceaux from Verdi's operas. Thus all tastes are consulted, and we can ·Sunday Times, confidently predict for the Musical Cabinet' a great success."Sept. 30th.

AURENT'S MARGARETTA WALTZ on BALFE'S Popular Song is in the same style as the Maud and Beloved Star Waltzes. It is superbly illustrated in colours. Boosey & Sons, Holles Street.

BOOSEY AND SONS' NEW

Holles Street, 6th October, 1860.

PUBLICATIONS.

CHEAP EDITION OF BEETHOVEN'S SONATAS.

On the 20th October will be Published, in two very handsome Volumes, bound in cloth, gilt edges (490 pages), price 10s. 6d. each, BEETHOVEN'S

SONATAS

FOR THE PIANOFORTE.

Edited by W. DORRELL, with Life of Beethoven by G. A. MACFARREN, and Portrait by J. LYNCH. This Edition will be found the most perfect and correct of any that has appeared in England. It will be beautifully printed on excellent paper from newly engraved plates.

NEW ARRANGEMENT

OF SCHUBERT'S SONGS.

In the press, a New Arrangement of the most favourite of

SCHUBERT'S

SONGS,

As brilliant and effective Pieces for the Pianoforte, by W. KUHE.

CHEAP EDITION OF VERDI'S GREATEST WORK, "IL TROVATORE," IN MONTHLY PARTS. Just Published, PART I., price 1s., of a complete Edition of VERDI'S celebrated Opera,

IL TROVATORE,

With English and Italian Words, beautifully printed on excellent paper, uniform with the Cheap Edition of “DINORAH”
IL TROVATORE will be completed in EIGHT MONTHLY PARTS, 1s. each.

SUBSCRIBERS' NAMES RECEIVED BY ALL MUSICSELLERS AND THE PUBLISHERS.
NEW MUSIC FOR CORNET AND PIANO.

NEW PIANOFORTE DUETS,

Just Published, price 5s. each, Brilliant PIANOFORTE DUETS, by A. SCHLOESSER,
OBERON (published this day)-LA TRAVIATA-MARTHA-DINORAH.

NEW ENGLISH VOCAL DUETS.-MUSICAL EVENINGS.

A series of Popular Duets, translated by GEORGE LINLEY.

1. SWEET IS THE DREAM.-CAMPANA.

2. TENDER BLOSSOMS.-BELLINI.

3. WE LOVE THEE SWEET NIGHT.-BELLINI.

4. PEACE TO THY SPIRIT.-VERDI.
5. O'ER THE BLUE WAVE.-PANOFKA.

6. THE BRIDESMAID'S DUET.-DONIZETTI.

LAURENT'S NEW WALTZES.

Just Published, by HENRY LAURENT,

MARGARETTA WALTZ, on Balfe's popular Song, illustrated by BRANDARD. KILLARNEY WALTZ, on Irish Airs. LOCH KATRINE WALTZ, on Scotch Airs. SANTA LUCIA WALTZ, the celebrated Neapolitan Canzonet.

Printed by GEORGE ANDREW Spottiswoods, of No. 10 Little New Street, in the Parish of St. Bride, in the City of London, at No. 5 New-street Square, in the said Parish. Published by JOHN BOOSEY, at the Office of Boosey & Sons, 28 Holles Street.—Saturday, October 13, 1860.

"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES"-Göthe

SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM

Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.

NEWSPAPER

OLLMICK'S DRIPPING WELL (Sixth Edition) for NEW

THE BALL-ROOM MUSIC-BOOK. Price 4s. hand- THE AMATEURS and PROFESSORS of MUSIC

THE OPERA COMIQUE,
Irs RISE AND PROGRESS.

(Continued from page 609.)

GRÉTRY.

ANDRÉ ERNEST MODESTE GRÉTRY was born at Liége on the 11th of
February, 1741. His father, who was of noble blood, but poor,
had a situation of first violin in the chapel of the cathedral, into
which he got his son received, from the age of six, as a chorister.
The child had a pretty voice, which he lost as he grew to man-
hood; his master had forced him to sing during the period that
his voice was breaking. This master, who was extremely brutal,
declared that little Grétry was incapable of learning music. The
father of Grétry did not share this opinion, and withdrew him
from the chapel of the collegiate church, in order to confide his
education to a more amiable master, named Leclerc, a professor of
ability, with whom the child made rapid progress. As he very early
showed an aptitude for composition, a professor of learning was
given him-the organist of the cathedral. He had also a master
of counterpoint, but as soon as he was able to write music with a
certain facility, not desiring to push his studies any further, he
applied himself to composition. "I had not enough patience to
restrict myself to my lessons of composition," said he in his Essais
sur la Musique; "I had a thousand ideas in my head, and the
impulse to make use of them was too strong to be resisted.
I composed six symphonies; they were executed in our town
with success." He was persuaded that it was indispensable
he should go and study in Italy, and for this reason he wrote a
mass which obtained for him a place in a college at Rome, founded
by the citizens of Liége. He then proceeded to the eternal city, in
He studied there under the
company with a dealer in relics.
guidance of Casali, a celebrated contrapuntist, whose advice he
failed to follow with sufficient assiduity. A certain number of
essays in vocal music, and several symphonic pieces, brought him
so far into prominence that he was intrusted with the task of
composing the music for two interludes for the Alberti theatre.
An Englishman with a passion for music (Mélomane) offered him
a pension if he would go with him to London, and Grétry was
about to start, when an attaché of the French embassy, named
Mellon, showed him the opera of Rose et Colas. Monsigny's score
taught him what our Opéra Comique was, and inspired him with
the determination to give the preference to Paris.
passed through Geneva, and there he had played an old piece,
Isabelle et Gertrude, to which he had written new music, at the
same time giving a few lessons to gain a living. It was in Switzer-
that Grétry became acquainted with Voltaire, who urged him t
proceed immediately to Paris, which he did. There he made haste
to study our language, at the Théâtre Français, where he regularly
attended the performances until a libretto should fall into his hands
from the skies. He was of a weak constitution, which caused his
friends to fear that he would not live long, a prediction which was
happily falsified, for Grétry died when he was past 72. After
the following fashion did Grimm speak of him :-

On his

way

he

"Grétry has a gentle and refined countenance, with the rolling eye and pallid air of a man of genius. He is an agreeable companion. He has married a young woman with a pair of very black eyes, which is a strong step for a man with such a chest; but he is in better health since he has married."

Another contemporary, Bachaumont, in his secret memoirs, says, at the date of December 14, 1769:

"It is with sorrow that the lovers of the Italian Theatre, who had conceived the greatest hopes in respect of Grétry, that Pergolese of France, perceive that this composer is on the point of being mown down by the scythe of death in the flower of his age. His chest is attacked, and the kind of life he leads contributes not a little to aggravate his condition. It is admitted pretty well on all hands that he was calculated to operate a revolution in the music of that theatre, the coryphae of which appear but mediocre persons by the side of this writer.""

Such was the great artist whose gradual success I am about to attempt exhibiting to the reader. Grétry had first to surmount

the immense difficulty against which beginners so often struggle
in vain-finding a libretto. This first herculean labour accom-
plished, another scarcely less hard to overcome presented itself-
to meet with a manager who would consent to produce the work
of an unknown composer. Now this is what happened to Grétry.
I have previously said that Phillidor had been unable to find him
a poem, and for two years all research was vain, but Grétry at
last laid his hand on a librettist, who, like himself, was unknown,
and who gave him a libretto founded on a tale of Marmontel, Les
Mariages Samnites, which the Italian theatre refused, the subject
being considered too serious for the style to which that establish-
ment was devoted. It was then arranged for the Royal Academy
of Music, where it was also refused. An attempt was made to
produce it at the Prince de Conti's, but the execution was so bad
that it was abandoned. One person alone did not share the
general opinion, and this was the Comte de Creatz, the ambas-
sador of the King of Sweden. He invited Grétry to dine with
him to meet Marmontel, and placed the two guests side by side.
The two men made acquaintance, and the poet, after receiving rather
coolly the advances of the composer, was at last won over to him
by his witty conversation. Over the dessert he promised him a
libretto.
He kept his word, and on the 20th of August, Le Huron, by
Marmontel and Grétry, was enthusiastically received by the public
of the Comédie Italienne. The composer had introduced several
pieces from the Mariages Samnites. Grimm speaks of the first
performance in the following terms, after rendering homage to the
good execution of the opera, due principally to Caillot and to
M. and Mad. Laruette:

"M. Grétry is a young man who here makes his first attempt; but
this attempt is a masterpiece which, beyond gainsay, raises its author to
the highest rank. In all France Phillidor alone could measure weapons
with this man. You find in his operas examples of every style."

Not so good a harmonist as Phillidor, and perhaps with less faci-
lity than Monsigny, he possessed in a high degree the art of stirring
the emotions of the crowd. He had imbibed from the society of
men of letters, which he esteemed more than that of his colleagues,*
a correctness of feeling and a degree of truth in translating the
thoughts of his collaborators, which had caused Sédaine to say of
him, on hearing Le Huron, "That's the man I want." They were
born one for the other, for although the poet was not much of a
literary man, and the composer by no means a profound musician,
both had vivid feelings, and possessed the art of communicating
their impressions to the public.

After Le Huron, Grétry brought out Lucile in January, 1769.
The words by the good man Anseaume. After the performance
the authors were called for: the composer alone was named, the
poet desired to remain anonymous. "He is wrong!" cried some
one in the pit. This naïve observation must have been singularly
flattering to Anseaume, who heard it from the prompter's box, where
he was modestly ensconced. "This romantic piece" says a contem-
porary, "exhibited the rare spectacle of an audience melting into
The composer has seconded the poet to a marvel, and vio-
lently stirred (brisé) the hearts of his hearers by ariettes full of
passion. Every one left weeping and enchanted; so that the piece
is looked upon as crowned with the greatest success." It is in this
opera
that the famous quatuor occurs,

tears.

'Où peut-on être mieux qu'au sein de sa famille?"

Le Tableau parlant, of which Anseaume also wrote the words, and which was produced on the 20th of September, 1769, placed Grétry completely in the highest place among the usual composers of the Comédie Italienne. This one act, which is still a stock piece, contains some genuine melodies, which rendered Grétry's work popular. All the world knows the duo between Colombine and Pierrot, a little masterpiece of grace and handling.

Grétry produced two operas in 1770, Sylvain and Les deux Avares. These two pieces met with success, especially the second, played for the first time December 7. The overture was much applauded,

It was to him that Voltaire said, with more malice than truth, "You are witty, sir, and yet you are a musician." This, by-the-by, was meant as a hit at J J. Rousseau, who was well able to return it.