vation generally of these symphonies in Austri- | by the great composer, could be at all tolerat- and succeeded his father in his organ appointments. an cloisters, where the love of music formed, ed. They were unable to discover that below So much for the family of Purcell, musicians, as we of old, an especial feature. Numerous indica- this playfully-rippled surface there was an untions as to place or time of performances are dercurrent of earnest thought which, at the Purcell was pre-eminent above all his predeces. recorded; thus we read in teatru (in the thea- right moment, would rush to the surface too, sors and contemporaries—a composer of vocal and tre), ad prandium (at breakfast), in horto (in the although in but rare cases it would lend itself instrumental, orchestral, harpsichord, and organ garden), post cænam (after dinner), in refectorio to the expression of deep: genuine sorrow.

music--sacred, secular, and dramatic. He was an (in the dining-hall), in Regen 8-choriatu (in the Wit and humor (the latter,"nowever, never de accomplished organist and also a finished vocalist. rooms of the choirmaster). Very remarkable generating into caprice) would still be upper: tion we cannot tell, but I will now play a little inel,

How early he commenced the practice of composi. appears to us the Trio from Haydn's Eleventh most, growing more refined, more manly, as itody or song, · Sweet Tyranness,” of his, published Symphony-quoted on page 305—in which the were; and thus to the present day Haydn re when he was only nine years of age. To be able to composer has apparently made use of an origi. mains the greatest humorist in the realms of appreciate the value of his work, we must first connal 'Slavonic melody--a supposition which sound, he who, already greatly advanced in sider what was the state of music just prior to his brings it into close relationship with not a few age, still knew how to preserve the freshness day. The civil wars and the Protectorate had de of Chopin's Mazurkas, which are likewise of yonth, and to conqner our hearts by his stroyed organs, music books, and dispersed and founded on similar subjects. Possibly never naïve kind-hearted cheerfulness, expressed by banished choirs so effectually that at the Restorabefore have points of contact been traced be means the most simple and the most natural.

tion of Charles, music had to be composed for men's tween these two composers; as shown, how It is impossible not to admire the moderation voices only, or if soprano parts could not be dis. ever, by the example quoted on pages 305-306 which guided his hand at all times, the wise pensed with they were played on cornets, for there - which, notwithstanding the peculiar interest economy be practised, in the whole as well as

were no treble boys capable of singing. Dramatic attaching to it, we have not space here to in- in the detail of his works, and which invaria

music there was none: it is true Locke had attempt. sert—they are to be met with, if only in rare bly taught him to stop at the right time; for

ed something in that line, but the very piece on

which his fame has been chiefly sustained was really instances." hazy and ambiguous passages were as distaste

not his at all, but the composition of Henry Purceli Upon Haydn's importance to art it is hardly ful to Haydn as aimless wandering or empty when a youth. I refer to the well-known Macbeth possible to say much more that is dew; nothi- phraseology in music. Finally, we may point music.". This music

, however, sinks into insignifi

. ing, however, can be more to the point than out his never-ceasing flow of ideas, his fruitful cance when placed in comparison with later works the characteristic given us by Herr Pohl: imagination, which constantly supplied him of Purcell's. " Take, for instance, his little Opera “ Haydn's merits in relation to instrumental with new conceptions. Innumerable as are the “Dido," composed when he wae 22 years of age, music are universally recognized. He has compositions of the master, he has but very not 19, as stated by Sir John Hawkins. This raised the crude forms from the primitive state rarely repeated himself, while every one of his Opera is complete, with recitative, solo and chorus in wbich he found them, giving them that firm works bears the unmistakable stamp of his -not one word of dialogue; it is full of beautiful basis from which alone further development genius, and of his truly German spirit, in depth music, and one of the airs, “When I am laid in was possible. The forms themselves have ex of feeling and richness of humor.

earth,” although constructed on the confined limits ‘Truly in

its panded under his hands, have become enriched Haydn's vein' we say whenever we hear the it may be noted in passing that S. Bach

has used by fresh elements of vitality and expression; first bars of one of his compositions, and we

nearly the same ground in his B minur Mass for the from the Sonata he transplanted them into know then that for the next moments to come

chorus to the words “ Crucifixus." Quartet and Symphony, enlarging indefinitely the cares of life will be dispelled in a manner Purcell was gifted with a sul for melody, and the sphere of the orchestra by imparting to it refreshing to both our heart and mind."

possibly it was the unwonted exhibition of this greater depth of thought, and by assigning its We have given these extracts in order to kin heaven born faculty in his works which first attractdue place to every instrument according to its dle among our readers the desire to become ac ed and captivated the public ear, for before his time character. Most justly, therefore, is he looked quainted with the whole of this first volume of we English as a nation had cultivated madrigals upon as the father, the true originator, of all a work the merits of which we cannot insist and part-songs with diligence and success; but in instrumental music; for no other composer of upon too emphatically. If they have, with us, all solo songs, till those of Purcell appeared, the the past century has done so much for its prog. perused its contents, they will, doubtless, like chief effects were proiluced by the words, not by ress and development as he, who had been both ourselves, receive with delight the author's sa the melody. As for the airs," they were, till this a witness and a mediator in all the phases of lute at the end of the book, " Au revoir at Es time, in general as unformed and misshapen as if

they had been made of nutes scattered about by modern musical history-from Bach to Gluck, terbaz!” and the promise thus implied of our Mozart and Beethoven. On the other hand, soon meeting ilgain the master upon his further ecdotes of Music," is too sweeping. Dowland had

chance." This last quotation, from Burgh's “ An. the fact that from the very beginning of his onward career!

F. W.

printed some most melodious songs in 1597. Mor. career he had interwoven his works with healthy

ley, bis contemporary, and other names could also and simple (volksliedmässig) melodies has im

Mr. W. H. Cummings on Purcell,

be cited as melodists; but the Puritans had probaparted to the creations of his genius that char

bly swept away both the memory and practice of all acter of unobtrusive, yet deep and intense,

(From the London Musical Times.)

such compositions, and Purcell's immediate predefeeling which has, at the same time, stampel

cessors were not remarkable for tunefulness. As a

(Concluded from Page 380.) him as the most popular of composers. The

scientific musician and harmonist Purcell was equal. leading features in Haydn's works are truth Let me now direct your attention to the portrait' ly great and successfui. At the age of twenty-four and unaffected simplicity. Hearing them, we of Purcell kindly lent for this occasion by that ad.

years he published a set of “Twelve Sonatas for breathe the fresh air of health and cheerful. mirable and benevolent institution the Royal Socie. Two Violins and Bass, with Organ or Harpsichord.”

From that work I have selected a fugue, which I ness. His artistic organizatiun favored a bright, ty of Musicians. This interesting picture has some what of a romantic history attached to it, which

will now play. One of the favorite exercises of sunny display of poetic emotions, and his works, in consequence, are the expression of a

has never before been made public. A parchment learned nusicians in his time was canon-writing, cheerful, childlike mind, of an unssauming,

deed in possession of the

Royal Society of Musicians and you need only examine the four volumes of his runs thus: “Redmond Simpson having presented

sacred music, collected and edited by Vincent Nocomplaisant self-contentedness(Behaglichkeit),

the portraits of Handel, Corelli, Geminiani, and vello, to see that Purcell was not a whit behind the which, however, if more immediately touched Purcell to the Directors of the Ancient Concerts most accomplished of his brethren in that cramped by a sense of the surrounding joys of life, may (now held in Tottenham Street), of which Sir Wat- and fettered school. The volumes published by at any moment break forth into manifestations kin William Wyon, Baronet, is Treasurer, so long

Novello contain 123 sacred compositions, chiefly of the most sprightly humor. According to as the said concerts shall continue, upon condition

anthems, and there are many still remaining in Haydn's own admission, these musical droller- that when the same shall break up then the por. Purcell's harmonical progressions were so ies emanated from a distinct trait in his char. traits are to be given and delivered over to the Roy. remarkable that they may truly be termed discor. acter, and were owing formerly to an exuber al Society of Musicians, to be by them kept for ever

eries ; so inuch in advance of the age were they ance of health-'one is seized by a certain after. In witness and testimony whereof the said that I have frequently beard foreign musicians to Redmond Sim; son and Sir Watkin William Wynn

whom his works were previously unknowo exclaim waggishness which will not be subdued.' Behave hereto set their hands this 25th day of April

on examining them, “Oh, that is Schumann: that is cause of this never-failing source of humor, which he so well knew how to impart to his

1785.” Mr. Simpson, the donor of the pictures, left Beethoven." etc. There are some remarkable har

a statement in writing that the portrait of l'urcell monies in Purcell's Latin Psalm “Jehovah quam works, Haydn has often been called the Gerwas painted by Closterman in 1694. and was many

multi." When you hear them you may possibly man Sterne. Although in his later years this years in possession of Purcell's son, Edward, who

doubt their authenticity, but as I enjoy the friendplayfulness, this almost unbounded merriment said it was very like his father, but that the latter ship of the present owner of the original autograph preponderating in his earlier works, was kept had grown very thin before he died. From the son,

Ms., I can vouch for their correctness. inore and more within its proper limits, this Edward, the picture passed to the grandson, Ed Purcell wrote more music than we can ever hope, characteristic element in his music still sufficed, ward Henry, who sold it to Dr. Boyce, from whom after these long years of neglect, to recover. Still, in the eyes of superficial observers, to make it was bought by Mr. Simpson, and at the dissolu. fresh material is turning up in various quarters, him appear little more than a musical jester. tion of the Ancient Concerts it can.e to the Royal and I trust before long it will be possible to point The comic element was not as yet recognized Society of Musicians.*

to a considerable series of his published composi. as having a legitimate place in music. Thus I have only time to say that the son, Edward | tions. I have made a catalogue or list of works for for a long time the Vienna professors of the art

Purcell, became an organist, report says, of moder. which he composed music, and it includes 47 operas would not acknowledge Haydn as their equal,

ate ability, and that his son, Edward Henry, was or dramas, 28 odes, and 202 short fugitive pieces of still less their superior, looking upon his hueducated in the Chapel Royal undir Bernard Gates, various kinds, vocal and instrumental. I have spus

ken of his skill as composer, organist, and vocalist. moristic style as an absolute fault, and serious • An admirable engraving by Zobel fro'n this picture. In the latter capacity he assisted in the choir at the ly discussing the question whether the ignoring originally intended for private circulatio 1, is now pub?

Jished, and copies may be obtained by all admirers of coronation of James II , and there is a quaint record of established rules, so deliberately persisted in Purcell.

of his having sung one of his own songs at Station.


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ers' Hall with "incredible gruces." We must not of counterpoint as his cook.” This was of the worst

IV. forget also that he stood at the head of his profes- stvle of the then bad Italian opera; with the failure sion as a teacher. One of his pupils—his brother of “ Piramis e Thisbe.” Gluck left the country. He It was time now for the world to see Mozart. Daniel, older than himself-was no mean composer, began to see his defects, the defects of Italian music: Born in 1756, at Salzburg, he early showed a great but he has suffered partial eclipse by the superiori. he tried the superior French dec'amatory excita musical talent, and when only six, he and an elder ty of the genius of the younger Henry. Another tion, and he set to work to cultivate his own mind, sister with their father set forth on a musical tour pupil-Weldon—is renowned for his exqnisite com. his taste in poetry as well as in music. From 1750, through Germany, and were patronized and petted positions. Witness his anthems “Hear my crying" | when he wrote “Il Telemacco," to 1756, when he by the Empress Maria Theresa, as they were later and “ In thee, O Lord." Purcell's Lessons for the wrote “ Il rè pastore” he continued in a transition by Marie Antoinette at Versailles. A visit to Eng. Harpsichord formed the model for most of the suc state verging towards the new German opera st.yle. land and Holland followed, then a year's serious ceeding writers for that instrument, and his treatise The intermediate operas are, “La Clemenza di Tito," study of Italian and German composers, after which on “ The Art Descant” is remarkable for its clear. Antigone,” “ Clelia,” “ Baucis e Philemone.” and Mozart received the appointment of concert-meister ness and conciseness. Aristeo." At this juncture he met Cazalbigi, a from the Prince-Archbishop:

According to the Dr. Crotch has said of Purcell: “He was the man who understood" him, and agreed fully with fashion of the times, he made an Italian tour, regreatest master t:is country ever produced, and the birn, in thinking that in the lyrical Drama music ceiving at each great town, Bologna, Verona, Migreatest composer of the latter part of the 17th cen. had hitherto attained so great an ascendancy over lan, the honor of being received into the membertury. Eminent both in the sublime and the beauti. poetry that the two must be united. Orpheus ship of the Philharmonic societies, and at Rome he ful styles, and blended with them a considerable and Eurydice” was performed at Vienna in 1762. accomplished the “extraordinary feat of transcribproportion of the ornamental, he composed for the It met at first, so different was it to the ordinary ing from memory Allegri's Miserere,” which the Church, oratorio, stage, and chamber, and thus style, with but doubtful success; but little by little Pope had strictly forbidden to be performed any. rested his character both on his individual and on it made its way. It is the most characteristic of where but in the Papal Chapel, or copies of it to be his collected talents. His productions are some. Gluck's' operas; its structure is very simple, its kept anywhere but in the sacred precincts At times simply beautiful, but are generally in a great characters few-only three- besides those who Rome he had the title of Cavaliere with the order degree pathetic and scientific, and that without any make the choruses. It contains the ever beautiful of the Golden Spur given him, the same that was apparent effort; but when he manifestly endeavors air “Che farò senza Enridice !" Compared with bestowed on Gluck. At Milan he wrote “Mitrid. to exert all his powers of expression, and to show his predecessors, Gluck's style is wonderfully bold, ale, Re di Ponto,” which was performed twenty-one the whole depth of his learning, then indeed he sur original, and independent; Alceste." Paride e nights in succession. “ Lucio Silla," “ La finta passes all his rivals." I wish we had the means at Elena," quickly followed, and were both successful. Giardiniera” quickly followed with others; but of hand for immediately proving the truth of this elo Orfeo” was first performed in England in 1770, all these the name only remains, and though exceed. quert passage, but that is of course impossible. I when Guadagni sustained the principal part. But ingly popular at the time, there is no doubt that trust before long frequent opportunities will be af. the opera was spoilt by all sorts of emendations and they were very immature. The two years he passed forded of hearing Purcell's music with the coloring interpolations. Dissatisfied with German actors in France were most distasteful to him. He dis. of orchestra and chorus. To make this practicable, and Ġerman stage, Gluck turned his eyes to Paris, liked the people, and he did not admire their music, publication is the first and chief necessity. To res. and was eagerly received by the manager there, and this visit cured him of any leaning he may have cue and pnblish what remains to us of this master- who since the death of Gretry had been bringing had to Italian or French style. Henceforth, he demusician-described by all who have had the oppor out the works of Sacchini, his contemporary: “Ri. voted himself to the cultivation of real German mutunity of judging as the greatest we ever possessed naldo." "Chimene," founded on the name of Corneille's sic, and wrote “ Idomeneo.” His niarriage with -is a work which commends itself to the sympathy Cid, “Edipe a Colonne,” and “ Erdina.” N. Dal. Constance Weber, a cousin of the musician, took of all—to us Englishmen in particular, for the honor arrac also lived at this time, and composed “Nina," place abont this time. · Il Seraglio” was produced of our Fatherland, and to the universal nationality which was the foundation of Paesiello's piece of same in the same year, 1782. The “Goose of Cairo," A of musicians generally, for the glory of their art,

Gossec, who wrote “ · Le Faux Lord," “ Les comic opera in 1783; in the ten subsequent years which alone has the power to

Pecheurs." Salieri, who composed “Les Dana the “ Le Nozze di Figarn,” “Don Giovanni,". La “ Dissolve us into ecstasies,

ïdes," and “Tararo." To return to Gluck, who now Clemenza di Tito," the “ Flauto Magico," and the And bring all heaven before our eyes."

devoted his talents for the rest of his life principally Requiem. His intention of following his old friend, to the French Stage. “Iphigénie." founiled on Ra Haydn, who had the most idolatrous attachment for cine'o play, was brought out in Paris in 1774. Pat

hinn, to London, probably occasioned his being ronized by royalty, armed with a libretto by offered the post of Imperial Chamber Musician in The Rise of Opera.

one of their great poets, simplified by Du Rollet, succession to Gluck. For this, his salary was 800

Gluck had it all his own way. The Abbé Arnault, gulden. “Ton much for what I do and too little for (Continued from Page 388.)

one of his enthusiastic admirers, is said to have ex what I could do," he writes himself. Worn out by A few words may he said about the Conservato c'aimed on hearing it. With such music we might disease, l,y ponury, by disappointment, by profesries where the great Italian imusicians were instructfound a new religion.” “Orfeo ” he dedicated to

sinnal persecution from the Italian party at Vienna, ed. There were schools' of this sort at Bologna, Marie Antoinette, who describes in a letter to her

with Salieri at their head, Mozart died at the early Naples, Venice, and other cities. The Conservato sister, the success, the struggle of this work. But

age of thirty-five. Tu his wife he continued to bear rio di Santa Maria di Loretto, at Naples, was the enemies were not far off. The opponents of Gluck his first great affection; she seems to have returned most famous of them all, and was intended for boys, got over from Italy Piccini, a musician of some

it but coldly, and to have been wholly unworthy of who were admitted from the age of eight to twenty,

repute. Both he and Gluck produced an opera on him. Of hiy two surviving children, the one who and received teaching in composition, singing, and

'Iphigénie in Tauris." Gluck won the victory; bore his name of Wolfgang Amadeus, inherited playing on various instruments. Leo and Durante but his next piece, “Echo and Narcissus," fell fat.

some part of his father's talent and was patronized

Mozart were masters at the above Conservatorio. The Marie Antoinette in vain implored him to stay and by Albrechtsberger, Haydn and others. principle was, for the master to give lessons to half.

redeem his fortunes. Disgusted with France, he was great in everything that concerned his great a-dozen of the most advanced pupils, and each of left it and sank into complete inactivity. Not with. art; his melody, his harmony were perfect, his these repeated his lesson to others below ther, and standing his great opinion of himself, and confidence knowledge of the theory perfect. His “Idomeneo.” 80 on, to the lowest grade. The pupils composed in his powers, Gluck was thoroughly generous to all is fonnded on a story of the Trojan war. In this and per ormed oratorios, operas, and smaller pieces other musicians, and to the cause of music general early opera he adhered closely to his Italian modof music, and performed the musical services in the ly. About this imputed vanity, and inordinate els and carried on the dialogue of the drama in different churches; and, in this way, gained money

sense of his own power, Haweis says: “If ordinary recitation; he gave each character a long scena, for the support of the institution. The Conservato.

men are permitted to be anxious of life, why should and the long drawn out airs took away from the rios at Venice were for girls; and they also learnt we grudge to genius the anxiousness of its own imn. artistic effect of the whole. The great beauty is its

choruses “O voto tremendo !” and “Scenda, amor,” all manner of instruments. The hours of practice mortality ?" Gluck’s chief excellence lies in the were very long, and the discipline severe.

dramatic truth and power he lent to operatic music. each in its different subjects. In no other of his In a preceding paper we have given a sketch of Some say he sacrificed melody in these high artis.

oporas is the instrumentation finer. Nevertheless the German opera till the time when Metastasio ar.

tic aims. At any rate, he first conceived the germ “Idomeneo” has never been performed in this counrived in Vienna (1730). He was here received with of those ideas, which under Mozart blossomed into try. Mozart's “ Il Seraglio" is his oldest German every respect and attention by the E.nperor Leo the classical school of opera.

opera which is still performed from time to time. pold, who was a patron of the arts, and who had es. Franz Joseph Haydn (1730–1809) was born in of its reception, when it appeared, the composer tablished the Italian opera in Germany. His suc Hungary, and was the reforiner of instrumental mu. writes himseli, “ They say people are quite wild cessor, Charles VI., supported it, and Maria There. sic, and the father of symphony. At the age of about my opera.” It is still occasionally heard in sa was a great admirer and friend of Metastasio. eighteen he wrote his first stringed quartet, and Germany. In 1827 an English version of it was Caldara set a great deal of his poetry to music, and supported himself by teaching. At Vienna he com brought out at Covent Garden, very much altered. died at Vienna, after being 50 years in the Imperial posed his first German opera “ Der Kummer Tel. The words of the Nozze di Figaro” were by Da Service. Fux, now only known by his treatise fel ; " at the age of twenty-eight, his first symphony. Ponte and it was composed at the Emperor Joseph's “Gradus ad Parnassum,” was at that time one of the then be filled the position of kapell-musicus, and request on the story of the Beaumarchais comedy, composers at Court, and wrote music for Metastasio. kammer.musicus to the Princes "Esterhazy; and “Le Marriage de Figaro." Michael Kelly, Madame Such was the state of things, foreign opera, foreign then lived a life of dulness, and yet great activity. Camporese, Berenici played in it, an) of no opera music, when Christopher Gluck, the founder of At the death of his patrons he came to England, was the success more complete. The airs are short German opera, perhaps we may say of modern op. and after a second visit to this country retired with and simple, free from the florid ornamentation of the era, was born (1714-1787). "Finding his way in a fortune, and the degree of Doctor of Music from Italian school. The only objection to the piece is great poverty to Bohemia, he came to Vienna and the University of Oxford, an honor which Handel that the music is not gay enough, it is all taken too studied under Fux, Conti, and Caldara, and then at in his impatience had refused. After a life singu. much "au grand sérieux." “Don Giovanni” was Milan under Sainmartini. His first opera, Arta-larly free from the trials of a public character, as a subject favorite with many dramatists of other Xerxes," was brought out here in 1741. It was suc. though unhappy in its domestic arrangements,

countries. It was written for L. Bassi; and the cessful, and procured for him engagements in Turin, Haydn died at the age of seventy-eight. He left yisted Mesilanies Camporese, Dainoreau, and Foder Venice, and Cremona. Thence he was summoned behind him an immense number of symphonies, acted in it. This drama was also received with to London by the managers of the Haymarket. oratorios, masses, a Stabat Mater, eight German, success, which came up to the composer's hopes. Here he failed before Handel, who, after hearing his and fifteen Italian operas; but it is not by his op- | The action of the piece is carried on by means of “ Caduta dei Giganti,” said " hč knew about as much eras that we ought to judge him.

long and highly wrought concerted pieces : the airs


“Il mio tesoro” and “Non mi dir, bell idol mio" him, but kills Elfrida, who seeks to save Rollo, and to be postponed. It would have been better had a are the only ones in the Italian style. Beethoven, the latter, in turn, puts an end 10 Biorn. With second postponement taken place, for · Biorn' had in a posthumous work, blames Mozart for thus per the acknowledgment of the rightful monarch the op- been already put off from the Monday to the Wed. petuating this false syle and making the concessions era ends.

nesday. Elfrida was by no means badly supported to it, which he oflen did, introducing bravura pas. Signor Rossi's score is not at all difficult to anal. | by the Biorn of Signor Mottini, who possesses a fine sages to please Italian taste. · Cosi fan tutte " is yze, for it is ntterly unpretentious. It is quite free stage presence, acts with intelligence, and sings like most farcical and little consistent with Mozart's turn from intricacy ; it has no subtle meaning; it indi an able artist, although the quality of the voice is of mind. Hence, though, it has great musical beau- vidualizes no character; it is neither uncooth nor not so sympathetic as could be desired. There ties, the comparative unpopularity of the piece. ugly; it is not learned, much less severe; it is, in were, however, disastrous failures, which operated The “Flauto Magico” is most consonant with Mo fact, an opera of the purely modern school, fall of most prejudiciously. The representatives of Hela zart's German mind. Beethoven says “it is his tune from beginning to end, and can be converted and the Threc Norne (Hecate and the Three Witch. greatest work, for in it he showed himself the true into exhilarating qnadrilles and waltzes for the completely failed to realize the supernatural German composer.” The subject being of such a room, whilst it will supply some charming airs for type of the Fates; they moved like automatons, mystical stamp, it is popular nowhere but in Ger. the concert halls, and for the drawing-room. The and they sang very imperfectly. The subordinate many, as a whole; but its airs are universally fa more terrible the dramatic situation, the more pleas- male parts were fairly sustained by Messrs. Coven. miliar, and its concerted pieces and choruses are ant is Signor Rossi's music. He has followed Don. try. Howard, Stone, and Dymott; but the honors the delight of all, . During its composition, Mozart izetti's example in Lucrezia Borgia,' which was of the night, both vocally and dramatically, were was seized with his fatal malady, and in his last poison in jest.” There is but one mould for snch gained hv Miss Cora Stuart, who was Rollo (Ban. days he often repeated “Oh that I could hear my settings: Vaccaj and Bellini, in Romeo and Juliet: quo). This young lady was a member of Mr. Carl 'Flauto Magico.' "Titus Andronicus” (?!) and “La Pacini, in ‘Saffo ;' Carasa, in ‘Joan of Arc;' and Roca's company, and appeared as Amina, in the Clemenza di Tito” were brought out at Prague, the the operas of many composers of the period, in Sonnambula.' There is inequality in the timbre of latter for the Emperor Leopold's coronation; and Italy, are all more or less alike. Melodions phrases her voice, the lower notes being unsatisfactory, bat Braham, Mdme. Foder, and Mrs. Billington (who are sung by soprano, contralto, tenor, and bass, she has some brilliant high notes. What is still first introduced Mozart's operas to an English andi whether the characters be viri nous or villainous. more promising and satisfactory, Miss Stuart pos ence) sang in it. This, excepting the Requiem, his Signor Rossi was no doubt familiar with the trans sesses rare energy and no little sensibility; her ex. death-soug, was his last work, and is as dramatic as lation of Macbeth’into Italian verse, made by Sig. pressi-n in the serenade. “ Wind, idle wind," with it is beautiful; and though not nearly meeting with nor Carcano, for Madame Ristori, and at all events harp obbligato in the third act, the undercurrent of the enme snccess as his other operas, it is a fitting the composer had a good prompter in Mr. F. Mar- orchestration in which is charming, was remarkaclose, in its grand subject and grand treatment, to the shall, but a change of style was out of the question ; ble. It was a great triumph for her, and there were great composer's life.

J. S. and Signor Rossi. therefore, who has composed the recalls after every one of her solos, but she rightly - London Musical Standard.

tragic opera of Cleopatra,' and the comic opera of declined the encores. The choral singing was ex.

the Contessa di Mons,' in ‘Biorn’is quite himself; cellent, that of the lady choralists specially, and the • Biorn.'

exceedingly agreeable from beginning to end ; | instrumentalists were efficient. In short, there were

there is not a yawn, indeed, for a single bar. The all the elements for a success for • Biorn,' had the Mr. Frank Marshall, who is well known in the admirers of Meyerbeer and of Herr Wagner will, cast of the principals, with the honorable excep. dramatic world as a student of Shakespeare, has of course, be borrified at such a specimen of the tions referred to, been op to the niark.-London broached a theory about the relationship, niore or

lyric drama; but is there not a large public still, in Atheneum, Jan. 20. less near, between the supernatural part of Mac. almost every capital, who will accept operatic mnbeth' and the Scandinavian legends—that is, he sic which does not require them to think, and which supposes that while Shakespeare has stamped his it is really delightful in hear? ‘Biorn' is quite as

Jakderjiantkilleren, own individuality on the three Withes. there is yet gond artistically as Verdi's 'Macbeth,' for it is on. a marked affinity between the Witches and the ly in his later operas that Verdi has sought after A Wagnerian Teatraylogy, or Art-poem-libretto, with a good Scandinavian “ Drei Nornen,” the three great Fates Meyerbeer's dramatic variety and power. It is in deal of Cupan Sorcery in it, accompanied by some indior Destinies. This notion prompted Mr. Marshall

the fanciful sections of Biorn,' whenever the three cation of the glorious Uncontentional Music of the to select the subject of supernatural influences prey.

Norns are on the stage, that Rossi's lack of jinagi. Future. ing upon an ambitious nature (the key-note of 'Mac-nation is most apparent; but his concerted pieces

(From Mr. Punch's Pocket Book.") beth') for musical illustration in a libretto which, are often highly dramatic, especially the trio and while it preserved the main action of ‘Macbeth,' finale of the first act, which Verdi would be glad to transferred the venue to Norway. This variation of claim. The ballet music is ingenious and piquant. This Teatraylogy consists of three parts, and occupies the locality necessarily involved many changes of To Rollo, a soprano part, some charming solos are

about as many weeks in performance. Of course what scene, characters, and incidents, but still maintained allotted, especially in the first and third acts. Lady

is here given can be no more than an inadeqnate speci. the Shakespearean drama as a basis. Ipasmuch as Elfrida has a beautiful ballad, “ Beneath the noble

men of the whole composition of the All-poei-musician. Mrs, Frank Marshall, formerly of the Haymarket oak tree's shade;” but in the sleep-walking scene still we have no doubt but that it will be found quite Thealre, possessed a voice which had been cultivat. the composer is very weak. Signor Rossi is gener.

enough for the present, without entering fully into the Maed in Italy, on the advice of Sir Michael Costa, the ally happy in his part-writing, as is proved partic sic of the Future. setting of the Norwegian Biorn' (Macbeth) was ularly in the chorus of waiting women in the fourth

The First Part partakes of the character of a Preludiassigned to Signor Lauro Rossi, who succeeded act. A military band is put in requisition in the an Prologue, and introduces the Hero, Jâk, and the chief Mercadante as Principal of the Conservatorium at

divertissement in honor of Sigurd's visit to Biorn's characters, with what may be termed the basso-motivo of Naples. Signor Rossi was a popil at the institu. castle, and in festive choral music it would seem as

the Opera-Poem. tion with Sir M. Costa, under Zingarelli, and it need, if the composer had been infected with Offenbach's

The Second Part shows how the Hero Ják, determined therefore, scarcely be said that Rossi is not a juve. strains. nile professor striving to win fame; at an age ap

One curious feature in the score of Biorn' is

to rescue his Lady-love, attacks the Jiants in their

Castles. proaching three score and ten years, to compose a

the introduction of Scotch tunes in the choruses, five act spectacular opera—for such is ‘Biorn '-is As the action of the opera passes in Norway.

The Third Part, which is subdivided, shows how Jåk, it

having still to find his Lady-love, Leetelred Ridinood, indeed a tour de force. Although several musicians, would have been more characteristic and con

seeks the Storrhansen of La Mère Hobbard, who lends native and foreign, have treated the tragedy of sistent if the composer had turned to account

him her learned Dog, Waggner, to guide him on his trarMacbeth, the music of our own composer (whoev. some of the charming Scandinavian melodies, such er he was, for it is a disputed question) has kept its as M. Ambroise Thomas has used in his “Hamlet,'

els. Waggner is soon on the Wolf's trail, but unfortuposition in the répertoire, and no stronger instance and which have been made so popular by Madame nately Jak's object is defeated by the elevation of the

Jiant Wolf's Castle on the rock, which is some 50,000,000 of its power need be cited than that Herr Band Nilsson.

The mounting of Biorn' at the Queen's Theatre, mann, who is now playing Macbeth in Germany,

feet above the sea-level. This introduces the Sclavonic has retained the chornses attributed to Locke. where it was produced on Wednesday night, is Legend of the Beanstalk. Jak goes out Beanstalking. Chelard, the French composer, and Signor Verdi characterized by picturesque scenery: the stage And, as he climbs, the elements are set in commotion, have set “Macbeth,' but their versions have not “sets” are remarkable for their completeness—the the animal world gnes mad, the astronomical system reached London, nor are they likely to do so, for artists are Messrs. Gordon and Harford; the pine gets hopelessly muddled, and a hitherto inanimate obtheir librettists have mangled Shakespeare's tragedy forest in Norway, with the stormy effects, and the ject, suddenly becoming endued with life and motion, awfully. M. Ronget de Lisle, in his translation of castle scenes are fairly well painted, and would serve

elopes with, as might have been expected, its own spoonthe scene of the cauldron, makes the child appari. for · Macbeth' as well as for ‘Biorn.' Mr. Alfred ey one. All this offers a splendid scope for the genius of tion this speak: “Monsieur Macbeth, Monsieur Thompson has designed the costumes, which, if im.

the All-Poet All. Musician Waguer. Macbeth, Monsieur Macbeth! prenez garde de aginary, exhibit good taste in the disposition of col.

The Orchestral Finale of this part is perhaps the finest Monsieur Macduff.” In Signor Verdi's opera, Lady ors and ornaments.

thing that even this Great Master has ever written. It Macbeth, in the banquet scene, sings a drinking The cast of Biorn' introduces several singers

commences with a tonic description of the “Lofty Didsong of the Traviata type, of a dancing rhythm, who were unknown. Elfrida is sustained by Mrs. dle diddle,” or “ High Diddle-diddle" morement by all exciting enough to make even Banquo's Ghost Fitzinman Marshall, Hela by Malle. Corandi, the

the stringed instruments in fugue. The diapason is kept pirouette. three Norns by Mesdames Riccobuono, Warwick,

on throughout, and the occasional insistance on the miMr. Frank Marshall's book is a clever paraphrase and Clare; Biorn by Signor Mottino (baritone.

nor seventh produces a discord which is now startling. of Shakespeare's play. It is a good idea to render bass); Rollo, Miss Cora Stuart; Ulf by Mr.

now plaintive, according to the variations on the the three Norns gyrens, or tempters to evil, and Coventry (tenor); Eric, Mr. Stone (bass); Hako Theme. their reappearances during the stages of crime are by Mr. Howard; and Sigurd (bass) by Mr. well timed. The chief changes are the introduction | Dymutt. of Rollo (in place of Banquo), who is enamored of The execution of the work was attended with Elfrida (Lady Macbeth). King Duncan becomes mishaps and vicissitudes after the first act, which Sigurd, Hecate is Hela, Malcolm is Magnus, and, was a signal success. Before the second act comwith his army, triumphs over Biorn. Rollo is no menced came an apology from the acting manager ghost, however, for, through Hako's aid, he is not (Mr. Everett), claiming indulgence for Mrs. Mar. Then follows the most exquisite, the most perfect bit of murdered. Biorn, at the banquet, imagines that shall, who had been indisposed for some days, but animal painting ever known in harmonics, clearly por. Rollo is a spectre, and in an access of fury attacks had consented to appear rather than allow the opera traying-if notes can ever portray anything, if there is

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as indeed there is, a true Language in Notes, a genuine but he overcomes them one by one, passing from sharps, modest as the nymphs of Pietro d'Arezzo. Its only expression of undying Narrative in Music-the first ap

calm C major. Then with one great discord, one digan aim, he declares, is to please and enfeeble the mind': pearance of the Cat. The legend takes her, in the hand

tic Bang on the Big Drum, the Art-Poem concludes. to triumph over strorg natures by its very weak. of the All-Poet, thus far:

[To be Continued.)

ness, making winning and enticing advances, but High Diddle, Diddle,

lowering the effect of its beauty by trivial conces. The Cat...."

sions. It is in this connection that Wagner does An Italian on Wagner.

not understand Italian music. The first Diddle is carried as high as fingers which (were

Instead of being a

siren who destroys by her fatal charms, it is the made before tuning-forks) will go on a violin, violoncel.

We are indebted to the first number of a new Musicat daughter of that divinity whose influence inspired 10, or double-bass. But the second Diddle is taken as

Review, published in Chicago, for the following: - the Greeks to comprehend and portray the eternal low as the first was high. Thus producing a striking contrast, and preparing the audieuce for what is imme Francisco Florimo, a high musical authority in type of beauty in their plastic arts, and ourselves to

perceive and bring forth the same in song and har. diately to follow, Italy, published an article in an Italian paper re


Those restless souls who have tenderness Sva....

cently on Wagner's music. It is extremely inter. and evince a spasmodic sympathy for the music of esting as it reflects the ideas of the Italians on the the future, will learn by comparison to respect in a subject. The following article is composed of short Italian musical Parnassus, and will be taught that a

continually increasing degree the treasures of the C8va....

extracts from the original, and embodies its substan- school like ours may be reformed, but not extintial points :

guished. Italy is the cradle of the sublime and C8va.... In their battle ngainst the true principles of mu.

beautiful. Here art is a worship; talent and inspi. sic these innovators seek obtrusive, discordant, and ration the priests, and the public the admiring ap-9:

extravagant means of carrying out a conventional preciators of their performances. The palladium of idea which, however highly colored. is cold and all that from Pergolese to Paisiello, from Cimarosa to

our music will be ever revered. History declares most incomprehensible to the general public who, Rossini, from Bellini to Verdi oor march has been

anxious only for ernotional effects, are indifferent as
8va lower,
to whether they are produced by technical skill or

from glory to glory, from triumph to triumph; and reckless melodies. When music wbich should be discredit the sacred dogmas of our art. It is said

it is a criine of nationality to attempt to bring into 8va lower.

idealietic, descriptive, and natural. as conceived by that we may learn from history the true secret of

the nuthor of musical reform and his co-religionists, all arts and sciences, since she is the faithful mirror Then comes the last solo (Der Katzkey), and here Herr exceeds its powers it becomes ridiculous and wega- of humanity, in which every art, science, or human Richard Wagner's Mews truly inspired him, Richard

tive. Even the beautiful itself has limits which are Wagner makes no secret of his descent from Richard

not to be passed unless the art be in its decline. undertaking is shown in its proper place and in its Whittington, whose family were originally German, and Wagner, by force of creating, has exceeded those proper light, and with its proper degree of importwho, had his parents but stayed in their own native land, limits, and is urging his genius toward a goal un.

ance absolute or relative. Italian music confirms would never have been Lord Mayor of London. But

the maxim of the illustrious naturalist, and will find known perbaps to himself. He sars that to be a this by the way; the cries of the Cat are marvellously musician one must also be a pret

. This is true, but in the experience of the past the way of traversing rendered, piercing and plaintive, fierce and ferocious. be should know also that in one single note of mu.

the future. Then just at the most intense point of the symphony is sic is concentrated a greater intensity of feeling heard the the first strain of the soothing violin,

than in many pages of writing. And Darwin tells Mendelssohn's Birthday at the Crystal "High Diddle, Diddle,

us that the ideas or sensations evoked by music ap-
The Cat, and the Fiddle."
pear from their vague extent and profundity as

The Fiddle remonstrates with the Cat. The Cat objects though they were mental efforts toward thoughts

(From the London Times.) and emotions of a very remote period. Italy has to the Fiddle speaking at all, when, thereupon, the Fid. dle reminds the Cat of their relationship, and points out never had so many composers as to-day, and never

That Mendelssohn was born on the 3rd of Februthat both Fiddles and Cats owe their powers of music to

have appeared so many operas which, enthusiasti. ary, 1809, all who, appreciating his music at its

cally received at first, are condemned at the third worth, rank him among the very greatest of comthe same cause. This leads to a disquisition on the rela

or fourth representation, or if they outlive a season posere, are aware; and it was no less fitting than tive value of Cats and Fiddles, and each discusses his

are bardly introduced in other cities, and the next graceful on the part of those in authority so to arand her own peculiarities in speeches (of course to touch

year are consigned to oblivion by popular disapprn- range their programme as to make it, to the best of ingly and thrillingly descriptive music) of some 826 lines

bation. Now why is it that after the lapse of half a their ability, commemorative of an event of such apiece. Finally the Cat and the Fiddle join in the near

century those works are still called for which, ac importance to art. Beethoven alone excepte ?, no est approach to what the All-Poet” ever admits into

cording to the believers in progress, have already one has helped more towards making the Crystal his work as an Operatic Duet, which, however, is sud

had their day? Have “Barbiere," “William Tell,” Palace Concerts, in their most legitimate features, denly broken in upon by a Gigantic Discord. introduc

Sonnambula," Norma," “Puritani," “Elisire attractive to the public than Mendelssohn. The ing a lovely pastorale. It is night, the moon is shining, d'Amore," and " Lucia,” gone out of fashion ? We programme of Saturday offers an excellent idea of the shepherds are slumbering, the flocks are sleeping, ask no reply nor raise any argument; men of heart the varied phases in the composer's many-sided tal. the heifers are in the paddock, the cows are in the cow

and understanding will 'pronounce whether such ent, but might with greater advantage, we think, house, all save one, which, overcome by the loss of its productions will ever be eclipsed in the artistic have been so devised as to represent his progress calf, is careering about the country refusing all consola world. It must be reserved for future generations from early youth to maturity. It is, at any rate, tion. Thus far have we now got in the legend which to decide upon the merit and advisability of a new

well worth quoting: forms the finale of the first part of the third Act, or Di style of harmony and a new method of composition. Overture, Ruy Blas; Part-rong, “For the New visional Poem of the Teatraylogy.

Never heless, it is beyond all doubt that the art of Year;” Air, " Then shall the righteous " (Elijah ;) “ High Diddle, Diddle, music is at present passing throngh a very grave

Concerto for violin and orchestra; Part-song, "The

Wandering Minstrel;" Song. The Garland;" AdaThe Cat, and the Fiddle;

crisis, and one endangering even her future; but I gio in E flat, from an unpublished symphony, written The Cow. .

dare hope that the brilliant Wagnerian meteor will for quintet of strings and solo violin (first time of be obscured even at its zenith, as soon as the star

performance); Part-song, “Remembrance;" The Of course this marldening and exciting scene, musical.

Scotch Symphony, ly expressed, brings us to the tableau pictured in the of melody appears again on the horizon in all words

its purity. When an art declines so rapidly it is The adagio in E flat, from the early symphony"Jumped over the Moon."

because the very principles have been falsified, and the “ No. 12." in F-should certainly have come And here, of course, all the resources of a stage arranged the only way to effect a revival is by returning to first, and doubtless would have headed the profor the greatest mechanical effects are brought into those principles in all their integrity, and accepting gramme, but for the sake of Herr Joachim, whoʻun. play. Of the remainder it would be difficult to speak briefly.

both the progress made in the path pursued and all dertook the violin solos, and had also the more re

the harmonic developments to which music has at. sponsible task before him of playing the concerto. s. The Little Dog laughed to see such fun.”

tained from the first attempts at a characteristic Beyond that, little mattered. First, or last, the The Laughing Chorus of Dogs, all assembled in the

style up to the present time. What do yon believe unknown movement would have been welcome, and Isle of Dogs, is one of those marvellous compositions of which a Mendelssobn might be proud, a Mozart boast,

is Wagner's aim in endeavoring to upset all that has doubly so had the entire symphony been produced and which would cause a Beethoven to be astonished at been done hitherto, and giving to music a totally -an example of precocity for which scarcely a par. bis own gepius. The Big Newfoundland's Barkarole is

different direction ? Is it progress ? No; he wish. allel could be cited. In his remarks upon this adaa magnificent speciinen of the Composer-Puet's art of

Pg to create a theatre and a music entirely national.gio, G,” the always well-informed annotator of the expressing animal sorrow and fury. “While

With his powerful and far-seeing genius, he has Crystal Palace programmer, furnishes his readers “The Dish ran away with the Spoon"

reviewed the history of his nation, and found that with a very interesting catalogue of the twelve ear. brings this part to a satisfactory conclusion, amid the

it possesses a literature, a philosophy, its own pecu- ly symphonies of Mendelssohn, now, with the reroar of the waves, the howling of the winds, the terror liar tendencies, everything, in short, except a

mainder of bis manuscript compositions, deposited of the Man in the Moon at seeing his residence leapt ov.

national school of music. Mozart is termed by the in the Imperial Library at Berlin, where every er by a flying Cow. as Jak places his foot on the first projection of the Beanstalk, and commences his perilous Germans themselves the Italian arnong native com amateur may obtain access to them. The specimen asrent. On this picture the curtain descends.

posers; Haydn is eminently symphonial, the pre. brought forward on Saturday can only have engenThe Second Division of the Third Part, which is again

cursor of that immense genius, Beethoven,unequalled dered a strong desire on the part of the audience to suhdivided (but only takes ten days in performance), shows how Jak, having climbed the Beanstalk, attacks up to the present time. Weber has composed one

know the entire work, of which it forms the third Jiant Wolf, rescues Leetel-red-Ridinood and is joined opera in which he has attempted the fusion of the in a series of five movements. Beautiful from beby all the characters who have ever appeared, at any two schools. Wagner's desire is to give the drama ginning to end, it is not the less valuable on account time, in the piece from its coinmencement. This affords

a national physiognomy and to create a German of the manifest indications as to how the aspiring an opportunity for one of the most effective finales, both musically and dramatically considered, in the whole of musical theatre. By the force of his genius he has young musician was influenced by the example and music,

commenced the reform, but will he succeed in com. attracted by the ideas of composers whom he natuThe Finale alone lasts three days, and is divided into pleting it? We cannot say. Wagner declares Ital- rally must have regarded with veneration. Scored acts, deeds, and processions. All kinds of difficulties

ian music to be delightful but perverse, exciting, for quintet of stringed instruments, with solo obbli. expressed by a perpetually recu ring chromatic scale, interwoven among a perfect network of chords, fugues, and corrupting; a princess, perhaps, but certainly gato for violin as principal feature, the adagio has and symphonies are placed in the way of Jak's wedding, a courtesan; beautiful as Titian's " Venus," and im- I quite a solemn effect, acd the studied carefulness of

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3. Andantino con moto.


Bach ..... Ramean


the execution brought all its merits conspicuonsly down the broad stream of father Rhine. The easy, of tone they had before ; the brass is still a little into light. Herr Joachim's interpretation of the independent swing of the Scherzo is full of health coarse, thongh much improved in the past few solo part for leading violin was worthy himself and and high spirits as of a young party of foot travelthe master to whom in his early youth he owed so

months. The programme was as follows: much, and who entertained for him so deep and last- lers upon its banks. The Andante, serious and ten

op. 52.....

Schumann ing a regard.

der, is of exquisite beauty. The Religioso is inex. Finale. How Herr Joachim plays the riolin concerto pressibly solemn, a very palpable reminder of the

Novelletten for String Orchestra, Op. 53. New.

Gade the only one published, although we find another, in D minor, among the manuscripts-is unnecessary Cathedral like that of Cologne, of which we can scene, the tone, the atmosphere of high Mass in a 1. Andantino-Allegro vivace e grazioso.

2. Scherzo (moderato). to say. To render it more perfectly seems to us impossible. A peculiar interest must always be at speak from experience; in the startling passage

4. Allegro vivace. tached to this concerto when publicly introduced by where the trombones enter in long, bold chords it

Symphonic Poem, Danse Macabre....... Saint-Saëns the Hungarian violinist. The last concert to which

Siegfried's Death, Die Götterdämmerung. (New). Mendelssohn himself ever listened was held at the reaches the sublime and almost takes yonr breath


From "Der Ring der Nibelungen." Leipsic Gewandhaus in 1847, a very short time be away; there is a strange little w.elodic figure (a

Overture, Fidelio.

Beethoven fore his death, when Joachim, still a boy, was the sort of “ Leit-motive,") echoed about from bassoon executant. Often as it has been heard in this coun. to various instruments, which seems like the voice

Rigodon de Dardanns, } first time,

Ballet Music, Queen of Saha. New........Goldmark try, where it was first brought forward at a Phil.

Vor der Czarda, (In front of a Hungarian Ion,)..Rafi harmonic concert, in 1846. by the Italian virtuoso. of officiating priests. The final Allegro takes you Camillo Sivori (shortly before the production of out into the free air and sunshine, and you seem to

Schuthann's Op. 62,-almost a Symphony, al. Elijah at Birmingham). it alwaye sounds fresh and go off down the river-side together, full of talk and though it lacks the breadth and weight of thought young, and on Saturday, as may be imagined, was more than ordinarily welcome. The warmth of his humor, reminding one another of this or that in which characterize his four great Symphonies-bas reception appeared at first somewhat to disturb the

not been heard here for quite a number of years, what has just been witnessed, some one of the party constitutional equanimity of Herr Joachim; but he now and then quaintly imitating (in a playful, rapid with the exception of the Scherzo, which is much

soon thoroughly master of his exceptional manner) that, quaint motive in the Religioso. The the most interesting part of it, and which is often His delivery of the exquisite andante in C major rendering of the Symphony was for the most part played by itself. We confess to feeling a cerlain sounded almost like an elegiac tribute to the master very satisfactory, although the chance for rehear. dryness in the other two parts, masterly as they whom he loved so much, and the irresistible finale sal had been very few and the work had not been

are in treatment. The work was finely rendered. given, in accordance with Mendelssohn's own idea, given here for several years ; but there is this vir Gade's “Novellettes " are very graceful, smoothly Mendelssohnian family of scherzos, where rapidity tue in these great things, that the musician who has flowing little pieces, full of sentiment; yet they and accuracy can be combined, both astonished and once played them never loses the impression.

seemed monotonous, and to lack positiveness of enraptured everybody, and the customary enthusi. Miss Gaetano's singing confirmed the fine impres like the old drawings in India ink, or mezzotint en

character as well as color; affecting us somewhat astic demonstration followed. About the Ruy Blus overture and the symphony in A minor (“Scotch”) sion of her lovely voice, her refined taste and ex. to write a single word that has not been written' pressive art. The Mozart aria, to be sure, is of too gravings. They were very beautifully played. The over and over again would be difficult; but to say uniformly quiet a character for concert effect in a

"Danse Macabre" always startles and even delights that they have never in our remembrance, here or large hall; besides that the melody is somewhat too

on a first hearing by its quaint andacity : we conelsewhere, been more splendidly executed than on the present occasion, by the orchestra under the di sustained for her best power; yet it was beautifully less the charm of snch things does not last for us.

Of course Mr. Thomas would do his possible to rection of Herr August Manns, is only a just tribute song and sincerely enjoyed by those whose tastes to the admirable conductor and the skilled protes- are least corrupted by the high artificial flavors of gratify the general curiosity to hear the famous Sors who follow the indications of his bálon. The the modern music. The songs were simply perfect though the attempt might be beset with as many

Funeral March in Wagner's Götterdämmerung, overture was, indeed, as impressive a beginning as

both in singing and accompaniment (by Mr. DREthe symphony was a triumphant climax. The two solo songs, both familiar. were given by Mr. SEL). That by Franz: "Im Herbst,” is one of the practical difficulties as Wagner himself found in Edward Lloyd with the utmost care and artistic most passionate, intensely sad, yet thoroughly beau trying to give his friend an idea of Glock's music taste.

tiful songs which eren he has written; and the [See first page of this number). We had expected singer threw her soul into it with superb effect. Mr. a whole scene with the Dirge in its connection. Dresel's charming “Maud" song was sung con amore,

Instead of that we had it isolated ; moreover, those with most delicate appreciation ; and the quaint Bar

who experienced it in the orthodox way of the carolle of Meyerbeer had all the subtle grace and Bayreuthian baptism assure us that the instramenBOSTON, MARCH 3, 1877.

tation exceeded the means of the Thomas orchestra, piquancy required. In response to a persistent encore Miss Gaëtano sang a pleasing song by Gounod. while, even had that been complete, a true idea

could only be formed of it in the midst of its theat. Concerts

Mr. Petersilea played the Rubinstein Concerto, rical surroundings. Anyhow, it left the audience

not to be sure with the fire (not to speak of the in a kind of vague wonderment anil stupor. Yo HARVARD SYMPHONY CONCERTS. The seventh programme (for Feb. 16), as finally reinodelled to original improvising force) of its composer, but with

one knew what it meant musically, although dram. a straight-forward, thorough, conscientious execa. gratify the general desire for more of Miss GAETA

atically the story had been told us. No one dared no's singing, was as follows:

tion, avoiding all extravagance, and bringing out
its outline and whole structure clearly, winning In truth the only impression was of a strange, vague,

to say he did or did not like it; none applauded. .Spohr 2. Recit. : “ Solitudini amiche," and Aria: “Zef

great credit by the effort. The work itself is full formless mass of most dark, sepulchral tones, with firetti lusinghieri," from "Idomeneo,". Mozart

of interest; an earnest consistency is felt at least wild bursts of passion, sudden tremendous fortissi3. Piano-Forte Concerto, No. 4, in D minor,

in the first two movements; although the Cossack Op 70... .... Rubinstein

mos, here and there the rudiments of a march Moderato-Moderato assai-Allegro

breaks out in the freakish and rather frivolous Fi. rhythm for a har or two, but for the most part no Carlyle Petersilca.

nale. There are passages of extreme difficulty, to
which Mr. Petersilea proved himself fully equal.

march discernible; a vast " wide weltering chaos" 1. Songs, with Piano-Forte:

of crude harmonies expressing grief and rage, but all " Autumn Bong"

tending nowhere, without course or progress, like a b. “Come into the Garden, Maud"..0. Dresel " Venetian Gondolier's Song". Meyerbeer

THEODORE Thomas. The return of this celebrated land-locked sea nphenving in a storm. Fidelio OF

Schumann 2. Symphony in E flat. No. 3........

leader with his admirable orchestra has given us erture after it was like passing out of a dark cave, Vivace-Echerzo--Andante-Religioso

more concerts during the last fortnight than any haunted by terrific groans, into a world full of light (suggested by a religions ceremo. pial in the Cologne Cathedral)

common musical appetite could easily digest:-our and beauty,—though the juxtaposition was a strange - Allegro.

in his own name, two in aid of the Old South pres. one.—The graceful, unpretending little Sicilienne of The audience was notably the largest of the sea ervation fund, one with Misses Adelaide and Ma- Bach was highly enjoyable; and the Rigodon of gon, and none, apparently, were disappointed. The thilde Phillipps, and two in the Sanders Theatre Rameau seemed so perfect in its quaint, prim way, brilliant Overture to Spohr's Faust—a work con course at Cambridge-nine concerts in nine days ! | and was so perfectly executed, that a repetition taining other instances of his happiest and freshest The first was on Monday evening, Feb. 19, when could not be refused. Goldmark's Queen of Sheba inspiration—was played with spirit and precision ; the Music Hall was but sparsely filled; it would music rather puzzled us; soine of it seemed more and it was warmly received. The breadth and maj. | seem that people felt fatigued in the mere anticipa. like tragedy than ballet. It was quite Oriental ia esty, the depth of feeling, wealth of imagination, tion of so great a surfeit. The orchestra showed its coloring, richly and ingeniously instrumented, perfect consistency, and gorgeous coloring of Schu. the same strength as on the previous visit, -eight full of melodic themes ; but this one hearing left us mann's “Cologne, or “Rhenish” Symphony, grows first violins, eight second, 'cellos and basses four rather in the vague. The single movement from apon one with every hearing. There is no grander each, etc. The string department has been brought the Hungarian Suite lig Raff (of which Mr. Thomas opening than this has, with its broad syncopated up again to the unity and precision which it had gave us the whole last year) confirmed the impresrhythm ; indeed the whole first movement gives before so many members left the organization; the sion we then got of it as one of the most interesting you a buoyant and triumphant sense of floating reeds have all the smoothness, if not all the vitality of Raff's compositions.

Dwight's Journal of Music.

1. Overture to “Fanst"

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