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muse. Just as, in this case, frivolity and loathsome stagnation cast over the whole, and with what treasures has he not endowed, on the one side pre-suppose the existence of the same qualities from out the inexhaustible abundance of his genius, the songs of on the other, the skilful, independent, and yet subordinated work the young girl! of the author of the words, in the case of Broughton and Handel, Let us come to the conclusion of the act, the chorus : “ Crown justify us in concluding that a corresponding standard of æsthe with festal pomp!” This is one of those pieces which pour tical excellence was adopted by the composer.

forth their golden stores without stint or hindrance, and The personages of the piece are precisely the same as those enchant the hearer with their very first tones. Schoelcher (Life of the Greek tragedy. Dejanira, Hercules, their son Hyllos, of Handel, page 290) concludes from this chorus, and the march Iole, the Echalian captive, and the herald Lichas. There is, | mentioned above-those being the only portions of Hercules he has however, this material difference : Iole, who, in the tragedy of heard in England—that “If the remainder of the score equal Sophocles, is only a mute personage, is, in the modern piece, these two magnificent pieces, Hercules is a master-piece unmore intimately connected with the plot, and thus not only do known to the public." We are quite willing for anyone, allured we gain a series of the most valuable scenes, peculiarly suited by these two pieces, to make himself acquainted with the whole, to the composer, but, also, an element essential to the sym- but he must be prepared to find that the magnificence of the metrical and harmonious structure of the whole, as a musical apartments will easily cause him to forget the side-door which drama,

served him as an entrance. Our attention is first directed to Dejanira, the deeply sorrow The second act developes still more closely Tole's purity of ing wife of Alcides, who has been absent for several months, soul. Dejanira, her breast heaving with passion, now visits the and of whom no tidings have reached his home. What the sun maiden-gloomy jealousy has gained possession of her mind. is to the world, the hero is to his passionately fond wife. She fancies it was simply to obtain Iole that Hercules destroyed Racked by sad presentiments, she bewails, day and night, the (Echalia, On beholding the fair girl, enveloped in the charm of pangs of separation. Meantime, Hyllos has consulted the silent and patient grief, she seeks every plausible ground for priests of Jupiter about his father's fate :

jealousy, and thus, with busy hand, nourishes the flame destined “I see the hero dead upon the ground!

to bring destruction with it. In vain does the innocent object O’er (Eta's head the flames rise to the sky."*

of her wrath warn the blinded woman of the self-created pangs Such is the mysterious response, which completely extin

of groundless suspicion ; in vain does Lichas praise the pure guishes all hopes in the bosom of Dejanira Already does she

fidelity of his lord. The dart has entered too deeply, and she dream she is united to the beloved-one in the Elysian Fields, to

who is wounded by it will not be cured. A most true and part from him do more. Hyllos, however, a son worthy of his

touching delineation of this suicidal fancy, which, with confather, acts differently. Neither the biting frost of the

temptible delight, produces horrible torture, from vain deceit, North, nor the glowing heat of a Lybian sun, can deter

in the heart of its victim, is presented to us in the next him from resolving to undertake a pious pilgrimage, either to

chorus, which concludes the scene. But away, for a moment, find his father or perish in the attempt. A magnificent

| with such gloomy pictures, and let us unroll' a scene full of chorus, full of solemn earnestness and reverential courage, ex

the purest beauty. Dejanira has a correct estimate of press their approbation of his resolve. Suddenly intelligence is

the charm which suffering beauty exercises on the heart brought that Hercules is returning from Echalia, which he has

of man! The spell in which she imagines, without reason, razed to the ground. Dejanira's joy is as boundless as her

her own husband to be held, has seized on Hyllos. It grief has previously been. Although her presentiments, a short

is in his heart that Cupid's dart is buried, and the fair creatime before, would not yield to comfort, she now giddily banishes

ture's sufferings, in which the powerful god has dipped his from her mind all recollections of the menacing response of the

weapon, have entirely turned the young man's heart to pity oracle. It is sufficient for her that her husband is returning,

and love. He seeks her presence. But a deep abyss separates returning as a conqueror, and she rushes out hurriedly, with all

the two, who appear so completely formed for each other : around her, to receive him; the herald and the chorus of the

“How can love exist in the sad heart filled with care-and Trachinians are more moderate in their joy, and, when we

love, moreover, for the son of the harsh man who slew my hear that, in the eyes of Lichas, the changes of suffer

father ?"-thus does Iole reject his suit. Then begins the ing and joy appear as day and night, as ebb and flood, who

| lovely air :would not be struck by the idea that the flood of Dejanira's

“Banish love from your breast : joy, also, will ebb, and her delight be followed by

'Tis a womanish guest."'* sorrow? We now have a fresh picture ; the captive princess,

in which she bids the young man renounce love, and, by deeds Tole, in the midst of her maidens, bewails the bitter fate which

worthy of his father, prove the vigour of his race. Her warndeprives her of liberty. Hercules enters to a grand march.

ings and exhortations ill conceal, however, the fact that her He is full of the joy of victory, and the proud feeling that he has

heart is fighting a hopeless fight, in order to rescue her from

the bonds which are drawing her to Hyllos. Is pacified the rage of Juno, and, crowned with fresh glory, reached

it the end of his labours. He determines that all around him shall

astonishing that she merely throws oil on the flame ? rejoice as well as himself, and fancies he can easily dry up

Her wishes strike him as an act of blasphemy toTole's tears by presenting her with liberty. The rough warrior

wards the god whose power has driven even the immortal fails to observe the fearful emotion produced in the soul of the

deities themselves from heaven, in order to enjoy, for a while, unhappy maiden by his appearance. Then again arises in her

on earth, the sweeter heaven of love; this thought is taken up mind, with irresistible violence, the picture she was once obliged

by the chorus, who sing, in swelling tones, the praises of the allto behold of her father slain by Hercules before the walls of

powerful boy-divinity, Dejanira re-appears, accompanied, this Echalia, and her fancy once more subjects her to all the pain

time, by her husband; the petty punctures of her sarcasm proof this torture, until the vision at length makes way for a calmer

duce no effect upon his calm and great mind; nay, he does not and more soothing kind of pain. Who cannot recognise in all

even take the trouble to inquire the cause of her jealousy. He this the qualities which stamp it as the peculiar property of the

resolves to give a feast, to celebrate bis victory, in the temple of musician? And how indisputably has Handel proved himself

Jove; meanwhile Dejanira is left to get rid of her groundless susthe potentate destined to take possession of such a subject, and

picions. She is the only person who remains behind, sinking hold it beneath his sway? What a magic perfume has he not

still deeper in her delusion. It suddenly strikes her that she

will employ magic to regain the estranged heart of her husband. * Not having the linglish original by us, we have been obliged to

She has preserved a rich garment soaked in the blood of Nessus, translate the German version, which is as follows:

who was slain by Hercules, and which, according to the dying “Ich seh' den Helden todt dahingestreckt!

centaur, is able to revive extinct love. The unhappy woman E: steigt die Flamm' auf Oeta's Haupt empor."

“ Banne Lieb' aus der Brust; TRANSLATOR.

's ist ein weibischer Gast."

sends this to her husband. She is not aware, however, of its i similar combinations from completely different elements, and a fatal power, nor does she know that, by her own act, she is similar structure on quite different foundations ? Would it not be fulfilling the menacing response of the oracle. A sham recon-worth'while to follow confidingly the same master, even in thoso ciliation is effected. This furnishes Lichas with the subject for instances when he had neither the wish nor the power to dash in a beautiful little air (“Lasting love," &c.), and is embodied in a his artistic pictures with so few broad strokes, but when his duet between Dejanira and Iole, being taken up by the chorus genius was obliged to work with gentler, more numerous, but at the conclusion of the second act.

wonderfully consistent touches, in order, out of the various inMeanwhile, the seeds sown by jealousy are shooting up dividual forms, to produce a rounded whole, full of life and with fearful rapidity. An instrumental symphony serves as the truth? We would have the present work, and particularly the introduction to the third act, and prepares us for the wild deeds choruses, considered in this light. It would take too long to of the latter. After Lichas has announced to the Trachinians point out in detail the means the artist's hand has employed, or the fall of their king, a piece of news of which the chorus imme to enter deeply into the manner in which they are turned to diately appreciate the results, the picture of grief itself is pre- account. Besides, numerous musical examples would be requisented to us. It is difficult to decide which is the more deserving site, and what we could give would in some cases be too much, of the prize : the pourtrayal of the horrible pangs with which and in others too little ; for those who are well acquainted the devouring poison racks the body of its unhappy victim, or with the work, such examples would be far too much, while the fearful picture, worthy the models we have received from they would be too little for those to whom it is quite new. It Hellenic antiquity, of Dejanira, pursued by the Furies, whom should be forcibly represented to the persons of the latter class, she has herself called up, and in vain seeking repose in the where they have to seek for beauty and enjoyment; they gloomy shade of night. In truth, neither of these delineations should be exhorted to remember that no portion of the work, is inferior to the other; the most we can perhaps assert is however attractive its charms even when detached, can retain that, as the pangs of a soul conscious of its guilt far surpass all its full value anywhere but in its proper order, in the place mere bodily pain, the first place in artistic worth must be which the master assigned it. The work is to be procured, let assigned to their pourtrayal. Only a short, and very character- | the public judge for themselves. istic air of Hyllos (“ Be silent, 0, be silent,") follows the first of Tübingen, 26th November, 1859.

G. S. these two pictures, and a charming song of pity, from the lips of Iole, the second. The dénoûment is not retarded by anything SOCIETY FOR THE ENCOURAGEMENT OF THE else, and particularly not by the chorus, which is silent until

FINE ARTS. nearly the end. The conclusion is rapidly brought about.

The priest of Jupiter announces the elevation of the hero from The adjourned annual general meeting of this society was the flames of the funeral pile to the blessed abode of the gods; held on Thursday evening, at the society's rooms, 9, Conduitand, after this happy event has been eloquently celebrated in an street, Regent-street ; Mr. H. Ottley in the chair. air of Lichas (“ Tie who was the pillar of heaven"), the priest, in The Chairman, in opening the proceedings, said that obedience to the will of Jove, unites Hyllos and Iole, who express this was an adjourned meeting from the 15th of December their joy in a charming duet. Now, at length, the chorus again last, for the further consideration of the report of the council, comes forward, and, in a simple and expressive song of praise, adopted upon the motion of a member of the society, extol the glory of the founder of freedom, before whose heroic arm seconded by another member, both formerly members of the arbitrary caprice and violence have disappeared from the earth. | council; and he regretted to find that neither the mover

It is evident that it would be no easy task to find another | nor seconder of that motion was present that evening. foundation so well adapted, by its nature and arrangement, for What grounds they had for moving an adjournment, therefore, the hand of the musician to rear his structure on. To the four he was at a loss to say ; and he should regret if members had persons whose fortunes constitute the essence of the piece, so to been, through their action, put to the inconvenience unnecessay, Lichas is added as a support, and the representative of the sarily of coming down twice for the one purpose. The council, declamatory character. He partly serves to introduce or bring however, were glad of any indication on the part of members of about, in various ways, the different transactions, and partly- takinga direct active part in the conduct of the affairsofthesociety, this fact more especially constituting his musical worth-mirrors, and he thought it not improbable that some valuable suggestions according to their moral importance, the dreadful deeds that might be educed through the circumstance of this adjournwent. take place ; being less affected by the grief and joy they produce Before formally putting the question that the report be than the other characters. His connection with the chorus is adopted, he might be permitted to make a few observations thus manifest. Perhaps it may be allowable, while treating of upon the scope and purpose of the society, whch this particular work, to say a few words on the choruses in were not fully appreciated by those who had only taken a Handel's oratorios generally. That the irectors of musical superficial view of the matter. The promoters of this societies, when selecting a work for performance, mostly first society went upon the principle that the fine arts were not take into consideration the number and musical beauty of the merely a luxury, an elegant enjoyment, but a necessity in the choruses, is an undisputable fact, inasmuch as the solo parts, and mental culture of mankind ; that they were as necessary to the the conception of them-whether justly, is another question-are full enjoyment of our mental endowments as food, raiment, air, left to the private study of those to whom they are entrusted. Such and light are to our physical condition. Viewed in this sense, a course is notonly easily to be explained, but is au honourable proof anything which tended to spread the influence of these arts of the endeavour to accomplish, with the means at disposal, as amongst the general community must confer a benefit upon comprehensive a task as possible ; but such a course has been, and society by enlarging the field of enjoyment, and elevating the still is, one of the principal reasons of a number of the most magni- character of our kind. By these means, and this was in itself a ficent works being subjected to the great injustice of undeserved great consideration, we established a common field open to allneglect, not to mention the disgraceful mutilation of others, high and low, rich and poor-when the cares of the world and which have still to make their way gradually in their original the dross of worldly pursuits are forgotten amid aspirations of form. If, in Belshazzar, the weight of whole nations, in action, beauty, leading to communion with the Creator of all beauty as it were, is thrown into the scale ; if, in Israel, the chosen and all good. (Hear, hear). And this position, which he ventured people sing the wonders of the land of the Lord, their God, with to advance, was no new one ; it had been recognised ages ago, epic breadth and fulness, before which the voice of a single in the remote ages of antiquity. Plato spoke of “the beautiful person must be dumb; if, in Judas Maccabous and in Joshua, and the good,” if not as identical and the same, at least as being the same people, gathered around their leaders, chosen and in- inseparably allied, and he described the love of them, which is spired by God, undergo sufferings and do deeds—is it so implanted in the human soul, als “the inextinguishable desire much out of the way to suppose that all these subjects neces- which like has for like, which the divinity within us feels for sarily comprehended , within themselves the elements, of their the divinity revealed to us in beauty." This being recognised artistic fashioning, and that it is a fundamental error to seek as a principle in nature, should it not be held as common to all,

of universal influence through all possible forms of manipulation. (Hear, hear.) One essential feature in the organisation of this society was that it recognised and brought together all the fine arts, whether appealing through the ear, or the eye, or the thoughts, in common union; and, curious enough, a modern authority, almost within our time, had, with exquisite naivete, given an illustration of this idea. Goethe said: "One ought, every day at least, to hear a little song, and read a good poem, and see a fine picture; and, if it were possible, to speak a few reasonable words"—implying that that which tended to elevate and purify the mind through the influence of images of beauty improved the capacity of men for rational discourse. (Hear, hear). He was glad to be able to announce that the opening soirie of the season, to be held on the 26th instant, would be signalised by a union of the arts of music and painting in an agreeable manner. The soirSe, by kind permission of Mr. Wallis, would be held at the Suffolk-street Gallery, where that gentleman's splendid collection of modern pictures were exhibited, and the Vocal Association would give a performance of madrigals and other choral music, conducted by M. Benedict and Dr. Pech. (Hear, hear.) There was nothing in the report which was not in strict conformity with what had been set forth by the society in its prospectus on its establishment, and which had been approved and confirmed by the members. One of the most leading features of the society would be the award of prizes, which would not be esteemed so much for their money value as for being sheer testimonals of merit. This practice prevailed in societies in Liverpool, Birmingham, Manchester, Glasgow, and other towns, and the prizes given by the art societies in those places were eagerly sought after by even the highest men amongst artists themselves. The system of prizegiving in the arts had been adopted above 100 years ago by the Society for the Encouragement of Manufactures and Arts, which distributed awards not only in the manufactures and in workmanship, but for productions in paintiug, sculpture, and engraving. The prizes were, at first, of small value, but they afterwards rose to the sum of £140. Mr. Pye, in his work entitled the " Patronage of British Art," said, "Subsequently, it gave to persons of mature age, as rewards of merit in painting, sculpture, architecture, and engraving, gold and silver medals, and sums of money, various in amount. The premiums of painting and sculpture, as the society acquired strength, ranged from small sums, as high as to £140 each; and manufacturers and commerce were equally encouraged. The annual distribution- of prizes was a scene of great ceremony and display, witnessed by an immense number of persons; reports of which being spread throughout the country by the daily papers awakened fresh emulation; whilst the various residences of the successful candidates gave frequent evidence that the society's influence had extended to the oontinent of Europe and America. And the City of London became so sensible of the society's importance, that in 1765 the Common Council voted to it a benefaction of £600. From its commencement in 17S4 to 1778, it distributed in premiums and bounties £24,616 4«. 8d. of which £16 219 19*. 8d. was given to reward merit in science, and £8,325 5*. to merit in the polite arts." The Society of Arts, in the Adelphi, next gave prizes as encouragement to young students :n the fine arts, and he knew personally that Sir Thomas Lawrence greatly prized a silver pallet which had been given to him, when a student, by that society. The Society of Arts, however, had now abandoned that system of prize giving in respect of the Arts of Design, it having been superseded by what was done at the South Kensington Museum in that department of the fine arts. The prizes that their society proposed to give, were not intended for boys, for copies of the antique, but being a society with a high appreciation of art, it would give prizes to the artists of the day, to those who had executed works which brought distinction to the art of the country. A number of unknown critics wrote in the public press on the fine arts, and artists were either gratified or depressed, according to the opinion that was there passed upon their productions, but how much more would artiste appreciate the opinions passed upon their works, when the men who passed them were capable of

judging of art. This society was at present but in its infancy, but he believed that the day would come when the prizes it awarded would be looked to as the highest honours that artists could receive. A great principle that the council had in view was to unite all the arts, including poetry and music—and, indeed, with respect to poetry, a gentleman had given £5 towards a prize to be awarded for the best essay on the relation of poetry to the fine arts. He would now resume the motion which had "been put at the previous meeting—that the report then read be received and adopted.

Mr. C. D. Lewis asked a question as the means of the society to give prizes, and

Mr. Alfred Gilbert suggested that a prize be set apart for music.

The Chairman said that the prizes would not be of any intrinsic value, although they would not be beneath notiee, and he opined that the society would have ample means to provide them, seeing that it had been calculated, as had been stated in the report, that there would in the ensuing year be a surplus balance of £90. They intended to give two prizes in painting; one would be a square ivory or wood pallet, the "Reynolds pallet," with a silver handle, and that which would be awarded for landscape or genre would be a silver pallet. A bronze medal would be given for sculpture, and the same for architecture. He believed that all the prizes could be given under the stated sum of £40. As to the omission of music among the list of prizes, it struck him as being unjust; nay, considering the valuable assistance they had already received from the members of the musical profession at their soirSes, it appeared to him as ungrateful. But it was in a great measure an oversight on the part of the council, as too much importance could not be attached to music as a branch of the fine arts.

After some remarks from Mr. Atkinson,

The Chairman said that on the 26th of this month they were going to have a grand assembly at the Suffolk street Gallery, by the kind permission of Mr. Wallis, whose splendid collection of modern pictures adorned the walls. The Vocal Association had volunteered their valuable assistance on the occasion. M. Benedict and Dr. James Pech would conduct on this occasion— (Hear, hear)—and there would be sixty of the finest voices of the association. Under such circumstances it could not fail to be a most attractive meeting. A circular would be sent round to all the members, each of whom could have two tickets, which would be transferable. (Cheers.) They had lost some members of the council, who had resigned, but he believed that that would not be productive of any, the least, injury to the society, as it would come out this year with, if anything, a stronger and more vigorous council. The chairman then read a list of the new members, who amounted to twenty-three.

Mr. Gilbert moved a resolution that poetry and music be added on the list for prizes.

Mr. Blakely suggested that until the society gained strength they should be careful as to the adoption of too many proposals, as nothing could be done without means.

The Chairman said the society had the means of adopting their proposals. By their adopting such proposals, the public would know what they were, and in due time would appreciate them. They would not then want to go about and ask noblemen to join them ; they would not require tinsel and tawdry; for their value in the art-world would be acknowledged, esteemed, and appreciated.

The amendment having been put, was carried unanimously.

The Chairman said, that as some difficulty might be felt in giving a prize in music, be would like to hear Mr. Gilbert state his views on the subject. Thereupon,

Mr. Gilbert said, men of acknowledged reputation, such as Mr. Balfe, and others, were not at all likely to compete, but that the competition would be very ardent among rising musicians. He would suggest that a prize should be offered for the best essay on the "Science of Music," as in these days music was almost entirely neglected as a science. He would also suggest that there should be a prize for the best production in music, such as for a symphony or an overture; and he believed . that there were hundreds in London who had the ability to write symphonies and overtures, but who had not the means of getting them performed.

The Chairman said that the suggestion should be instantly taken into consideration by the council, and he trusted that Mr. Gilbert, from whom the suggestion had come, would help them in carrying it out, by inducing other composers to send in their music, which would be tried by the society once a month at a meeting, when competent judges would be present to decide as to its merit.

Mr. Rosenthal asked why engravers in the fine arts should be excluded, seeing that good engravers must necessarily be good artists. He moved a resolution accordingly, which Mr. Edmeston seconded.

Mr. Stuart said he was glad that engraving had been mentioned, as he considered that it was in need of encouragement, line engraving particularly, which, unless encouraged, threatened soon to expire. By their encouraging line engraving, the society would really be doing a great deal of good.

After some further discussion the motion that engraving be added to the list of prizes was carried unanimously.

The Chairman said that the council would take into consideration these suggestions, and if they found a difficulty in carrying oat the scheme which had been just proposed, they would take an early opportunity of communicating with the members; though they would certainly make great exertions to accomplish what bad been suggested. He believed that another matter worthy the consideration of the society was whether cases of struggling genius should not be singled out for wrapping the bronze prize in a £5 bank note, and whether a small subscription should not be raised for that purpose. He knew artists who were now living in flourishing circumstances, who, a few years ago, were involved in the greatest difficulties. There were many such cases, and he thought that if in such instances, besides giving a prize testimonial of merit, they gave, say a .£10 note, the money would be valued at that time more than it would be at any other period of life.

Mr. Z. Bell moved a resolution that the prize committee consist exclusively of professional men.

Mr. Rosenthal seconded the motion.

A discussion ensued, in which the Chairman, Mr. Edmeston, Mr. Rosenthal, and other gentlemen took part, and Mr. Bell, at last, at the suggestion of the Chairman, agreed to withdraw his motion, in order that it might be more fully discussed at a

Ecial meeting on the subject. It was further agreed that in circular convening the meeting, which would be sent to all the members, notice would be given of the motion.

The report, as amended, was then agreed to, and there being no farther business to be transacted, the meeting separated, after a vote of thanks to the Chairman.

CHURCH MUSIC—HARMONIUMS FOR
CHURCHES.

(From The Church Remembrancer.) As acquaintance with the mechanism of musical instruments, and the physical agency by which "effects" are produced, very frequently imparts a new pleasure to the musio itself, and the intelligent listener may, to a great extent, realise the gratification of the more amply endowed artist, who by lip, bow, or touch of finger, has the power to call sweet sounds into being. But there is one instrument from which neither has, till very recently, been able to derive unalloyed gratification—one whose inventor had to do fierce battle with strong prejudices, as well as with sound objections, being meanwhile sensible of an existing defect beyond the grasp of a countervailing remedy. We allude to the Harmonium. When first introduced by M. Bebaine, the inequality of power distributed through the key-board, and the peculiar character of sound, which was harsh and disagreeably metallic, lei! a strong impression on the mind that such nn instrumeut was not likely ever to become a favourite one with the public, or that it would eTer extend itself beyond the rank of a huge sound-creating toy. Once brought into notice, other minds beside that of M. Bebaine were cxera«ed upon improvements, and thus the first crude idea gradually unfolded itself, until M. Alexandre, of Paris, and Mr. Evans, of London' succeeded in bringing its powers and beauties into full view, and havo thereby given instances of the triumph of genius to an extent bordering

on the marvellous. Notwithstanding the various changes and extensions made during this progress towards perfection, the original principle pervades the eutire range, whether the instrument be confined to a scale of four octaves, or is by some clever contrivance spread out to seven. The sounds are not produced from wood or string, but by metal strings termed reeds, which are made to vibrate by a current of air generated from bellows put into motion by the feet of the performer. By this contrivance the powers of the instrument are rendered subservient to an individual, and a complete band of music can be represented without any assistance from a second party. Armed with suoh an advantage, in conjunction with others yet unnamed, the harmonium is really an instrument of great value, and, becoming rapidly known as such, the progressionists—those whom we have specially quoted—are now "leading the world in their train."

The uses to which the harmonium chiefly commends itself are the church, the drawing-room, and the school-room. That designed for the services of the sanctuary does not possess the compound stops of the organ. It has only double and single octave stops; any note may be made to produce its octave and double octave: nothing more. Very satisfactory reasons are given for this, but chiefly that the harmonic thickening would produce disorder by the inevitable inversion and spreading of the chords—ninths would give out seconds and sevenths; seconds, sevenths, and ninths; and so with regard to the whole series —and because, in order to remain in true musical condition with such stops, it would be needful to use them only in pieces written in counterpoint invertible in octave, which is not done. The drawingroom harmonium differs from that of the church in its varieties of tone and power to imitate different instruments. With a full complement of fifteen stops the music of a complete band is at the disposal of a single performer, although a critical ear would very soon discover the distance of the relationship, assumed by some of the solo stops to their ereat orchestral prototypes. For educational purposes the school harmonium is admirably adapted, seeing that it has sufficient capacity for the carrying out many a needful and an invaluable project. There is also another woll worthy of attention viz., the Piano-Harmonium, an invention that gives the player the power of sustaining for an indefinite time a note, chord, or an arpeggio extending through the compass of the keyboard after the fingers have ceased to prers the keys. The prolongation of eonnd may occur with different degrees of intensity according to tho register appended to it. Affixed to this instrument are two "kneepieces " put in action by the knees of the player; the one to the right produces a prolongation of the sounds on the treble side; that on the left applies to the bass register: the swell and diminuendo are blended in a way similar to that of the ordinary harmonium, viz., pressure of the foot upon the bellows. The instruments thus far referred to, are of French manufacture under M. Alexandre; but there is yet another and a more extraordinary one named "The New Patent English Model Harmonium," with two rows of keys; and, as if to anticipate every want of the highly skilled as well as of the less gifted organist, this admirable deputy for ttie king of instruments is supplied with a complete set of German pedals of two octaves and a fourth, with independent pedal reeds—so that the Organo-Harmonium which owes its paternity to Mr. Evans may end ought to be considered as the ne pluM ultra of the art, as it is in fact the nearest approach to the organ, both in point of delicacy, beauty, and usefulness, that has hitherto courted public examination.

Tariod as the purposes are to which the instrument may be made available, its own proper sphere is that where sacred vocal music requires artificial aid. The sounds of the harmonium, being of rather slow emission, are better adapted for the legato style than any other, and peculiarly suitable to tender melodies and slow movements. It also possesses other important claims to notice, especially from those who take an interest in the singing at churches "remote from cities." The time has passed away when the clerk was your only Binger, or the few unskilled monopolists in tho gallery were allowed to distract tho mind of the devout worshipper with conflicting ideas of music by their unmeaning sounds. The time has arrived for "the art divine" to assert its power, and to show its importance when rightly directed. Who can calculate its future triumphs, or set limits to its reign? Musical knowledge must extend; and it is incumbent upon all who are able, to aid in its diffusion. The efforts that are being continually made by the clergy and others in orowded districts, in order to further congregational singing, are well worthy consideration by every true friend of the Church in every nook and corner of this highly-favoured isle; and there appears to be no impediment whatever to successful attempts. In small country churches, where there are no funds to purchase an organ, 91 where, if a patron be found to present one, an organist could not be paid, the harmonium ably supplies its place. The ease with which

THE MUSICAL WORLD.

sufficient knowledge of the instrument for playing purposes can be more sweetly than Mad. Lemmens Sherrington, or shouted obtained, is another strong recommendation for its adoption. Some

more mellifluously than Mr. Sims Reeves (who, like Bottom, clergyman's family may readily be found to carry out the service. A few simple chords, that produce but little effect on the pianoforte

can, when it pleases him, “roar ye like any sucking-dove"), would, if transferred to the harmonium, make “heavenly music.”

but that they would have warbled and shouted, for the major For the sum of ten guineas, an instrument of five octaves can be part, in a less monotonous tone. The “blackbirds” would. obtained, and this is quite capable of guiding the congregation in the doubtless, now and then have twittered and sung in pairs, way to singing “with the spirit and with the understanding also."

chirped inquartet, or screamed simultaneously, the whole “ 24"

chirnerinou A greater outlay would purchase greater power and a richer quality; but, as before remarked, the gamo principle exists in all. The vocal -if not in pedagogic harmony, at any rate in ornothologic services in many of our country churches require attention; and as unison. That is what we mean by being less monotonous. But the mission of music will be incomplete until from the united family of at the Beaumont Institution, Beaumont-square, Mile-end, man ascend the morning and evening hymn of praise to the beneficent I every feathered biped (except in the three instances signalised Creator, the introduction of the harmonium appears to have been

by asterisks)—from Mr. Reeves and Madame Lemmens to invented as likely to work out, in a great measure, so desirable an end.

Miss Robina (Robin ?) Bellingham-made melody in egotistic DEATH.

solitude, and thus, in the end, wearied and palled upon, On 4th inst., Mr. William Appleby, aged 41 years, the faithful and instead of continuing to ravish and delight, the ears of the devoted servant of Messrs. Davis and Phillips, of 25, Berwick.street, packed and solo-ridden witnesses. Two of these solos, music-printers.

too (for example the overture to Oberon on the organ !),

were more curious than enchanting—"not quite beautiful,” NOTICE.

as Herr Molique would have said. · THE MUSICAL WORLD may be obtained direct from the Office, 28, Holles-street, by quarterly subscription of five shillings, payable

One might have imagined that the premonitory bit of in advance ; or by order of any Newsvendor.

counsel which stood at the head of the programme was wholly ADVERTISEMENTS are received until Three o'clock on Friday After

superfluous : noon, and must be paid for when delivered. Terms :

“On account of the length of the programme, visitors are requested Three lines (about thirty words)... ... ... 28. 6d.

to refrain from encoring; they are respectfully reminded that the Every additional line (ten words) ... ... Os. 6d.

artists, and many of the public, reside at a long distance."

Not so, however; the Eastern dilettanti have very eager stomachs at a feast of music, and scarcely aware, perhaps, of the glut in store for them, began “encoring” at an early

stage of the repast—in other words, insisted on being helped LONDON, SATURDAY, JANUARY 7TH, 1860.

twice to more than one of the “plats” served up for their

gratification. Thus before the second course (which conLast week we quoted a French advertisement, or rather,

tained, as may be gathered from the programme-carte ? an advertisement in the French tongue, as something to be

several “ pieces of resistance ”), the majority had had their fill, admired; this week we introduce to the notice of our readers

and with hungerand thirst assuaged, and stomachsovercharged, a concert programme, as something to be contemned. While

felt indifferently apathetic about what was to come after. music is making such strides over the length and breadth of

To speak in trope—they had swallowed six dozen of oysters the United Kingdom, it is sad to find one of our literary and

before they commenced dining. This the case, it might have scientific institutions entertaining its subscribers and patrons with such an interminable and uninteresting bodge-podge as

been concluded that the author's premonitory piece of adthe following :

vice at the “heels” of the programme was just as oppresPART I.

sive as the one that figured at its “nob" was superfluous :Solo, Organ, Overture to the opera of “ Oberon" ... Weber. “NOTICE.-Ladies and Gentlemen are respectfully but earnestly Song, “ Rage, thou angry storm”.

Benedict. requested not to leave their seats until the conclusion of the Concert, as Song, “Crossing the moor"

Weiss.

much annoyance and confusion is sometimes caused amongst the Grand Scena, “ Softly sighs the voice of evening" ...

Weber.

audience by persons moving in front of them a few minutes before the Song, “ Sally in our alley"

Old Air. conclusion." Canzonet, “Yo maidens in spring time"

Meyerbeer.

Such, however, was evidently the opinion of no end of Aria, “ Ombre légère,” (Shadow song) ...

Meyerbeer. Scena, “ Still so gently o’er me stealing" .

Bellini.

yawning amateurs, whose ears were loth to drink in further Solo, Trumpet ... ... ..

sounds, whose eyes began to wink, whose heads to droop . ...

Harper.'

... New Song, “ We were boys together" ...

Weiss.

in spite of Miss Robina Bellingham, when she tripped on to Song, “ Where art thou wandering, little child ?” F Mori.

sing of Christmas and its bells. “What bells are those ?"*Quartette, " Spinning-wheel "... ... ...

Flotow.

sang the lady of the red-breast prename; but the assuaged PART II.

mob, or rather the most thoroughly used-up section of it, Solo, Organ, Selection from “ Acis and Galatea”

Handel.

would not wait till she had answered her own question, in *Duet “ The Rataplan" ...

Donizetti. New Ballad, “ Margaretta" .

Balfe.

the epigrammatic words of the poet, around whose neck Mr. Ballad, “ The beating of my own heart”

Macfarren.

Brinley Richards, while under the influence of the festive Ballad, “ Thou art so near and yet so far"

Reicbardt. season, has, on this occasion, hung his lyre. How, indeed, was it Christmas Song, “ What bells are those"

B. Richards.

possible to sit out, stand out, or even gape out, such a Song, “ The queen of the sea" ...

Schlosser. Naval Song, “ Tom Bowling"

heavily multifarious infliction as this same banquet of solos ? ...

Dibdin. Air, “Let the bright seraphim"

Handel.

Seriously, an institution like that in Mile-end-road Old English Song, “ The wolf”... ...

Shield. ought to set a better, if not a graver, example. Why should Scotch Song, “Bonnie Prince Charlie”

... Old Air. they look at every other subject from a dignified point of *Quartet, “ The fisherman's good night.” ... ... Bishop view, and treat music as a' toy with hardly skill enough in

Four-and-twenty solos, “all in a row." We should have its construction to attract the curiosity even of thoughtful preferred the same number of blackbirds, in accordance with children ? the old song. Not that the blackbirds would have warbled

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