« VorigeDoorgaan »
Dwight's Journal of Music. Florestan, Leonora and Rocco; a sweet, flowing
ing's performances, why should you charge him with concert on the 13th, assisted by Cora De WILHORST, the poor prisoner. This duet, not difficult for a loss of feeling for true Art, with descending to Signor Morelli and others.
orchestra or singers, is such as only Beethoven's “clap-trap," and disgracing his high position? If Max MARETZEK commences his opera season at imagination could have invented, and cannot but you were repaid for your attendance, why should you Niblo's on Monday next, with GAZZANIGA, Brig
be heard with thrilling interest. Indeed how the deduct from the sum of your real enjoyment because NOLI, AMODIO and ADELAIDE PHILLIPPs, that very
spell of this tragic music deepens and grows upon of a humbugging manager? Why not charitably estimable young lady, and highly promising singer,
you with more and more intensity, as the dark think that the man who could deceive an audience, wlio has never received, even in her native city, the
drama proceeds! Musically and dramatically, might possibly deceive the performers ? credit as a vocalist, to which she is so jastly entitled.
nothing in the whole range of opera is more exAt least, it seems to me that you might have dc
citing than this whole Act. layed your letter until you had learned the facts, on both sides.
No. 13. A most lovely Terzetto, between Hoping that your equanimity will not again be disturbed by a similar combination of incongruous
Allegro, in A major, smooth and melodious material, and that I have succeeded in restoring Mr.
enough for Mozart, and yet the tenderness and Satter to the honorable estimation in which you far BOSTON, APRIL 11, 1857. depth are Beethoven's. The prisoner asks heavmerly held him,
en's blessing on the youth who shows such
humane interest; Leonora, now persuaded
that it is her husband, is agitated by heavenliest ADVOCATUS.
hopes, and fears; she has a bit of bread which We proceed briefly to describe the contents
she would give him; the jailer is touched, but
hints it will not do, it is forbidden. Wonderful
is the modulation just here, as Fidelio coaxingly New YORK, APRIL 6.-With the exception of
suggests: It can do no harm, it is so soon all over Ole Bull's Concerts, there has been no musical slow, (Grare), in F minor, and sublime in its
with him! The bread is given, and the Trio event whatever, during the past week, to record. suggestion of a high soul languishing in chains,
kindles to a brighter blaze of feeling. This Trij The Norwegian violinist has but partially recovered in dreary solitude and darkness. The loud, long
would be exquisite without the action, sung as a from his recent illness, and did not play with his bursts of the wind instruments in full chords an
concert piece, if well accompanied; but with usual brilliancy and effect; yet his concerts were swering to the low monotone of the strings; the
true, fervent, natural action, it is as pure a fusion fully attended, and gave general satisfaction. By plaintive exclamations of the 'celli, echoed by the way, everybody may not be aware that the daz violins and oboes; the symphonic accompaniment cal a moment, as any in Don Juan.
of situation, character and music, as purely lyrizling diamond set in the end of his bow, and which of the drums (in minor fifths) to the wild diminflashes upon the eyes of his audience with every ished seventh chords, &c., lend a singular impress
No. 14. Quartet, Allegro con brio, in D. movement of the bow across the strings, is a present
Pizarro steals in, throws off his dark mantle from the Duke of Devonshire, and is valued at quite iveness to this prelude to the gloom of Flores
and reveals himself to the prisoner: “ Pizarro, a fabulous amount of money. Indeed, the market tan's cell, and to the prisoner's touching recitative;
whom thou wouldst have overthrown, Pizarro, the valve of Ole Bull's three favorite violins is estima
God, what darkness! O heavy trial!" and
avenger, stands before thee!”
The agitated ted at three thousand dollars! with a change of key, (to E major): “I murmur
music yields for a moment to a heroic, measured Our bovine violinist is assisted at his concerts by
not, God's will is just.” A beautiful modulation Signors GASPARONI and GIANONI, second-class Italto A dat introduces the exquisite tenor melody,
strain of horns and trumpets, as Florestan with las vocalicts, and by Miss Victoria GILLER, 2 (Adagio cantah), which forms a leading fea
composure replies: “A murderer stands before
me." He lifts the dasmer, when Iveonora throws young lady of this city, who has been attacked with ture in the “ Leonora"
overture, (No. 3). In an ambition to become a public singer. The lady is this song all the tenderness and sweetness of
herself before her husband. He flings the rash young, exceedingly prepossessing in appearance, but Beethoven's heart flow out. The words are:
youth back; she covers him again : Tödt' erst her style of singing is better adapted for the parlor
sein Weib! (kill first his wife !) she screams upon
In the Spring time of my life, than the concert-room. Her execution is very good,
I dared to boldly speak the truth,
a high note—the climax of the opera. “ His and she sings with soine taste, but her greatest fault
And chains are my reward.
wife !” “My wife !” exclaim Pizarro, Rocco, is that, (owing most probably to timidity), she refuses
Willingly I suffer every pain,
Florestan ; the swift quartet proceeds, until to emit her notes with clearness. If you shut your
With the sweet consolation in my heart, Pizarro seeks to kill them both, when she preeyes, you would think from the tones of her voice,
That I have done my duty.
sents a pistol to his breast, and just then in a that she was a musical Desdemona, whom some un The music quickens to an Allegro, (in F), as changed key (B Aat) resounds faintly from beseen Othello was trying to smother. Until this fault in a sort of " tranquil inspiration bordering on hind the scenes the trumpet announcing the arribe remedied, it is impossible to form a correct esti delirium,” the prisoner thinks he feels a softer val, (so dreaded by Pizarro) of the Minister. mate of the lady's abilities. air about him, and sees as it were an angel of de
It is the well known trumpet passage of the The Harmonic Society give a concert to night, at which Dr. Loewe's Cantata, “ The Seven Sleepers," demands the very best of tenors.
liverence, in the form of Leonora! Such a scene “Leonora” overture. A few wonderfully exwill be produced, Miss MARIA BRAINERD taking the
pressive bars, in which the wild delight of Leoprincipal soprano part. A Jubilate and Te Deum, by
No. 12 opens with a piece of “ Melodrama," nora and Florestan : “ Thou art (I am) saved!” GEORGE Bristow, will also be performed. Mrs.
short, expressive bits of instrumentation preluding the mortification and curses of Pizarro, and the Elliot, so well known in Boston as Miss Axxa
to the brief sentences of spoken dialogue be- joyful astonishment of the old jailor find utterSrone, singing the solos.
tween Rocco and his new assistant, Fidelio, (Leo- ance, and again the trumpet strain rings nearer The New York American Music Association, to
nora), who have come down into the cell to dig and louder. The quartet closes with a breathwhich I have already several times alluded, is pro the grave. Leonora : “How cold it is here in this less Allegro, like clouds flying before the wind, gressing favorably, and has received quite an impetus subterranean vault!” Rocco, (pointing to the that sweeps the dull skies clear which is the in the accession to its ranks of Dr. Charles Guil- prisoner), “ There he is!” L. “God stand by only piece of music that ever reminded us at all METTE as conductor. The next concert takes place me, if it is he!” &c. Then follows the marvellous of the quick part of the Sextet in Don Juan. on the 27th inst., when several new compositions, duet in A minor, Andante con moto, in which Here our Boston Theatre performance closed among them an elaborate Anthem by W. H. WAL
they proceed to dig, she watching the prisoner, as TER, organist of Trinity Chapel, will be produced.
-a mere dramatic, or rather, melodramatic close. Rocco's back is bent during the prelude. The This society is composed entirely of resident musi.
But not so Beethoven; he never slights the end cians, and has for its chief aim the development of
orchestral part, in dull, ponderous triplets, is de of a great work ; he is too much in earnest. native talent; and I am glad to hear that it has
scriptive of their work, and the contrast of their No. 15. Duet between Leonora and Floresevery prospect of ultimate success. It is, in my
voices, (the old jailor exhorting to fresh efforts, tan, expressing the joy of meeting after long sepopinion, the most deserving of success of any of our
Fidelio brave, but almost fainting), is wonderfully aration : O namen-namenlose Freude! (O joy musical societies.
expressive. At length, with a struggling, upward beyond expression !) It is a rapturous Allegro Mr. SCHMEISSER, a pianist who appears to rate
roulade of the double basses, a great stone is vivace movement of indascribable beauty, and the his own abilities very highly, and announces himself heaved up, and on goes the work again to the true Beethoven inspiration. Its animated rhythm, as the only pianist able to extemporize on any given same movement, she more and more overcome by its alternate mingling and separation of voices, air, that has ever visited this country, will give a fatigue and terror, but still anxiously scrutinizing (which, now by short ecstatic responses, and now
flowing together, seem literally to rush into each
each and they are more just and liberal in their criticism
and they are more just and liberal in their criticism temperament, that it has run out into a certain other's arms, and then to hold each other off as if and appreciation of Italian talent than either the
common-place trick of melody, florid cadenzas French or English, to say nothing of the Americans, to realize the union with distinct assurance), the to whom, with some rare exceptions, the knowledge of and effects, which are but the ringing of perpetual directness, simplicity and carnestness of the main
Italian modern authors of eminent merit, such as
seeming changes on the same essential story. melody, and then the delicious strangeness of the others, is utterly unknown.
Rossini, who had ten times more genius, more modulation with each new flash of thought or
Excuse me, Mr. Editor, if I diverge from my subject, but I could not in any other way prove the
invention than all his followers put together, new shade of emotion; all is full of joy and love fact of the German's appreciation of the Italian's (although he left off as soon he had once showed and gratitude and wonder, of sense of trial past mind, than by the examples of literature; for I am
that he could be really in earnest, in his “ Tell"), fully convinced that no German of any education and heavenly reward, a whole eternity in one would use towards Italian authors such epithets as the is far less often heard than any of them. miraculous and glorious moment. Editor of the Journal of Music, who is not a German,
As to Rossini, our own readers do not need to has used towards the greatest musical genius of No. 16. Finale. Scene the court yard of the modern times. Besides I consider it unfair to assa be reminded that no journal in this city has said
those who have not the means of defending themselves, prison. A quick and buoyant march, (in C), who have neither newspaper nor men competent to do
so much in praise of him as we have; although accompanies the entrance of the Minister and his it; and if I have written these few words it is merely we have not been blind to the fact, which he train. The stage fills with men and women. to defend my own country, so shamelessly slandered,
himself confesses, that he rarely wrote sufficiently and perhaps to induce some person, competent in Pizarro, as governor of the prison, accompanies musical matters, to defend that country which has in earnest, and compromised his brilliant talent
always stood as the palladium of the Fine Arts, even the Minister; on the other side the prisoners in the gloomiest days of her political degradation.'
for the most part to the syren of success. No one come forth, with Marcellina and Jacquino. The Finally, I cannot comprehend why the Editor above has done more to persuade an unbelieving public
named should have used those words in that article: march becomes accompaniment to a grand burst but I suppose that, as he has continually endeavored
of the beauties of Il Barbiere, of the truly noble of full chorus : “ Hail to the day, the much long to drag into the mud the Italian music, perceiving the character, as a work of Art, of " William Tell."
sad fiasco in the execution of that really beautiful ed for, yet unexpected, when Justice and Mercy composition which has elicited his criticisms, (for I do
No one has oftener pleaded, and in vain, for repappear before the door of our prison grave!” myself consider it a work of superior merit!) he, in etition of such few performances as we have had
his inflamed imagination, mistook all the foreign Fernando, the Minister, (basso), announces the physiognomies which filled the theatre that evening,
of these. We assure our friend that that same royal mercy and deliverance to the prisoners, to be Italians sneering at him. But I assure him that “German” taste, which leads one to love Beet
he was mistaken, for they were Germans excepting (they are supposed to be political prisoners). two, a popular teacher of singing, and vour humble
hoven and Mozart, listens with keen appetite to Again a snatch of chorus : “ Hail to the day!" servant, who is not a
MUSICIAN. “ Tell” and to “ The Barber," when our “ ItalOld Rocco comes in, leading Leonora and Flo Did anybody but this writer once suppose that ians" par excellence declare them tedious, and restan. The Minister, astounded, recognizes his by “Italians” we meant those born in Italy ? | cry out for Trovatore. dear, his noble friend, whom he had supposed We used the term in a quite usual colloquial And this brings us to Rossini's Stabat Mater. dead. Rocco relates the plot and the deliver sense. The “ Italians" in our mind's eye that We are quoted as having applied disparaging ance; Pizarro is denounced. “And Leonora," night were partly Italians, partly French and epithets to that so-called sacred and, we admit, adds old Rocco. “ Leonora ?” “Yes, the orna even Germans, but principally Yankees. We beautiful composition. Would it not be more ment of womanhood I lead before you !” Pizarro meant that numerous class of music-lovers, who thoughtful and more fair to quote the circumstanwould interpose “two words,” but is silenced. think there is no music except opera, and no ces with the words? We were reporting of a
The prisoner's chains are taken off; it is the opera except Italian; and by Italian even then performance of Mozart's sublime and solemn wife's privilege to do it. In all this hurried reci they mean the Donizettis, Verdis, that now | Requiem, followed immediately by the leading tative, the orchestra keeps up a continuous move. | occupy the foreground, with Rossini quoted themes of the Stabat Mater, hashed up in the shape ment, full of life and complex beauty; and occasionally for glory's sake, but kept quite of an overture by Mercadante. Then it was we finally the key gets back to the broad sunlight of willingly in the background; for what chance felt and wrote: “ After the Mozart's Requiem, how C major, (the key of the Leonora overture which does the ruling taste allow the “ Barber" or the | mean, superficial, secular, &c., seemed that Stabat Beethoven intended to commence the work), and “ William Tell” in comparison with Il Trovatore Mater business !” Had it been the Stabat itself, the whole concludes with a grand ensemble of , and La Favorita?
opening with chorus, and all, we probably should chorus, with quintet of principals, in praise of If there were but two Italians in the theatre not have called it mean. After the Requiem, Leonora and of Woman's high devotion, borrow.) (personally we could not vouch that there was what we heard was so in comparison. It was a ing the first lines from Schiller's “ Hymn to one), it is the less likely that we should have great descent from one tone of feeling to another. Joy:"
referred to them. That would have been entirely The terms "secular," "superficial,” &c., in spite " Who a gentle wife has won,
too personal. And had we seen them, we were of our perception of the great beauties and occa-, Join he in our jubilee ! &c."
too deeply occupied in cultivating acquaintance sional grandeurs of the work), are not unfitly.
with Beethoven's music at first hand, to be study | applied to it at any time. It is the general EuroThe Italians (musically speaking). ing its reflection in their faces. But let no one pean opinion, the opinion of most musicians and We find the following in the Transcript of last
tell us that the numerous class of exclusive, appreciative publics everywhere, that the prevailMonday:
partisan admirers of the Italian Trovatore schooling style of this Stabat is more operatic than MUSICAL FANATICISM.—Mr. Editor: Allow me a
of music did not enjoy their triumph that night sacred; and that in many parts, as for instance, small space in your paper to make a few observations over the fiasco of Fidelio! There is no denying the Cujus animam, the music makes its own' || upon a passage in Dwight's Journal of Music of April 4th, in which it says : " Surely the Italians had their
that there are those (who talk in private and who sparkling plaything of the solemn words. But triumph-they relished the performance marvellously write in public) who habitually sneer at all things that there may be the further question about it, well!" I wish to inquire of the Editor of that paper, what right or reason he has to suppose that the Italians
German and especially at works of genius we have the testimony of Rossini himself, who should relish the complete fiasco of that evening's | supposed to be too good to be popular.
in a conversation with Ferdinand Hiller, at a performance? or to believe that they are so frantic We assure our friend that we have the greatest watering place the summer before last, confessed and narrow-minded as to consider their music exclusively good, and all others " mean," "superficial," respect for the Italian Art and literature, for Italian that he never meant it for publication, and that • secular" and "shoroy," epithets used by that same Editor on Rossini's Stabat Mater?
he only wrote it “mezzo serio," in a half-serious scholarship like his own (if he be whom we The Editor shows
style. Here is the passage from the conversations himself utterly ignorant of Italy and Italian minds.* suspect), and the warmest sympathy with that If he will take trouble to study the nature of the
as reported by Hiller: Italians a little, he will soon perceive his error.
Italian patriotism which we have unwittingly
| “But this excursion of yours to Madrid was Italians are cosmopolitic in their taste, and love the | wounded in his own sensitive person. There is, the cause of your composing your Stabat Mater, beautiful and good wherever they find it; and although they may have a preference for their own style of
or has been rather, an Italian music, too, which was it not ?" music, they do not for this consider all others worth has our admiration. To go back no further than
"I composed it for an ecclesiastic, a friend of less, nor do they insult every foreign composer
Aguado's," replied Rossini. “I do so merely because they may not like his style of writing! Rossini, we would that our Italian opera troupes,
from a wish to oblige, and should never have I wish also to remind the said editor, that the and their peculiar publics to whose tastes they thought of making it public. Strictly speaking, Germans themselves (at least in Germany) have more respect and appreciation of Italian talents; and as I
cater, showed practically half as much regard for it is even treated only mezzo serio, and, in the do not feel competent to give examples in musical that great master as we feel. If the general first instance, I got Tadolini to compose three matters, as I am not a musical man, I will only
pieces, as I was ill, and should not have been mention that the Germans are more learned in Italian report be true, Italy to-day has fallen below her
ready in time. The great celebrity of the Stabat literature and fine arts than any other nation; and self in the respect of music ; Verdi has usurped there cannot be found a single German scholar who is
Mater by Pergolese would have been alone suflinot only acquainted with all the great authors, not
the seat of her Palestrinas, even in the churches ; | cient to prevent my setting the same text to music only the ancient, but also the modern ones of Italy; I music has become so much a matter ef mere | for public performance."
DWIGHT'S JOURNAL OF MUSIC.
GERMAN OPERA.-Fidelio was followed last week certs,” Two of these took place on Tnesday and at the Boston thcatre by two opcratic medleys. On Thursday evenings, of this week, before large audiFriday evening a small audience were very agreeably ences, with D'Angri, Johannsen and Schreiber as entertained by extracts from four operas. First assistants, and the usual selection of pieces. The came the scene from the first Act of Der Freyschütz, third will be to-night. But the last of the last, and in which Max, (tenor), sings the air: Durch die Thalberg's "positirely last" appearance in Boston, Wälder, durch die Auen, the wild music darkening is proclaimed for next Tuesday afternoon. and brightening as the evil genius Zamiel creeps behind or leaves him; and then Caspar, (bass), sings
The interest in the Afternoon Concerts of the his drinking song, and tempts Max 10 go with him | ORCHESTRAL Union deepens, if the audience does to the Wolf's Glen. Herr Beutler was Max, and
not increase, as they approach their close. Last
2--Aria from Zanetta"..... sprightly, pretty manner, and sang more true than
..... .Ze-rrahn der Schlummer, closed the scene. Johannsen sang it
7-Finale from " Lohengrin,',
...R. Waguer with truc feeling, and with fine abandon in the spirited
Next Wednesday will be the last and then we finale. Herr Oertlein, in the character of the Burgo
shall begin, when it is too late, to miss our orchestral
privileges. May we not suggest, for one item of the master, sang a comic solo from Lortzing's Czar and Zimmermann, (one of the many operas founded on
programme, that Leonora overture, the No. 3, which the story of Peter the Great's apprenticeship in the
was promised us and not given in the German opera,
and which has not been heard in any concert here ship yards). The subject of the song was the burgomaster's importance, and the music as much like
this winter. It was always a favorite, and the recent Rossini's Figaro, (Largo al factotum), as a burgo.
performance of Fidelio will clothe it with fresh inmaster could be supposed to sing. It was quite
terest, and make its motives more intelligible. amusing. Lortzing's music is more Italian than German.
For Dwight's Journal of Music.
MR. Editor :There is a remark in the criticism For part third was announced the second Act of
of last Saturday's “ Journal of Music," on the perFidelio, with the Leonora overture, No. 3. But
formance of Fidelio, which I cannot let pass without instead of No. 3, we again had the No. 4, in E, and
a few words. It is as follows: “We have had to the Act this time was curtailed of the beginning as
grope our way through most imperfect, miserable first well as of the end. The extract commenced with representations, and almost perversions, to at last a the grave-digging music.
clear presentment of the thing. So we came to the The best performance of the evening was a spark great symphonies now so generally loved.” Here is ling comic duet from Auber's “Mason and Lock a trifling difference to be noticed. viz. : the "first smith," sung by Mmes. Johannsen and Von Berkel representations” of the great symphonies, as given by It is clear that this company are better suited to such our old Boston Academy, with somewhat limited light opera, than 10 Fidelio.
means and far from perfection, were equally far from On Saturday afternoon the same programme was
being miserable representations; they were liked
enjoyed-and created a taste and desire for repetirepresented, with the omission of the Fidelio ex.
tions. I think it will generally be found that first tract; and so ended this first and most imperfect
representations of classical compositions, imperfectly experience of German Opera in Boston.
and miserably given, are not likely to produce that
effect-as was the case last week with Fidelio. CONCERTS.--For the third week the field has been
Wu. KEYZER. almost wholly THALBERG's. Last Saturday even Boston, April 6, 1857. ing The Music Hall was filled, even upon the stage, with audience to his “last." The bill contained the
Musical Chit-Chat. names of Mmes. D'Angri, JOHANNSEN, Von BERKEL, the principals of the German Opera
The days fixed for the great Musical Festival here tronpe, Mrs. BARROW, (who recited Gray's Elegy),
are Thursday, Friday and Saturday, the 21st, 22d Herr SCHREIBER, the trumpeter, and Carl BERG
and 23d of May, i:yımediately preceding “ Ar.niver. Mann with an orchestra. The programme was one
sary week.” There will be an oratorio ench mornof the lengthy sort, embracing various kinds. The
ing, a concert with Beethoven's “ Choral Symphony." orchestra gave the overture to “Egmont," and that
on Saturday evening, and possibly some oratorio or to the “Merry Wives of Windsor," by Nicolai-not a bad overture, but about as suggestive of the
sacred concert also on Sunday evening.... Thal
BERG gives us the fourteenth concert, (to say nothing “Merry Wives” as it was of " Waverley,” for the overture to which by Berlioz we found it substituted
of Matinées), of this his second visit, this evening,
and his very last on Tuesday afternoon. After that at the very last moment; also a march from Tann
he will re-visit Hartford, Albany, &c., and in the häuser. THALBERG played with orchestra, and with
latter part of the month he will join StraKOSCH masterly power and beauty, the first movement of Beethoven's E flat Concerto; also his “ Home" and
and Company, under whose agency he will make a
two months' concert tour of the West. Mme.
D'Axgri in the meantime will go South....Mr.
ULLMAN, we understand, expects to import HECTOR from Fidelio: Mir ist's so wunderbar, was sung almost
BERLioz and a grand orchestra, for concerts in the as badly as in the opera ; and the Trio from Don
New York Academy during the coming year.
Among his thousand and one great plans, too, it is
said, he contemplates a series of twelve oratorios in and Mme. D'Angri an air from the “Barber of
that same Academy. Query: Can these be possibly Seville" and Ah! mon fils.
the twelve unwritten oratorios which one of our A theme of much talk, wonder and amusement at
American composers wanted to contract with a Bosthis " last " concert, was a Card of the Management,
ton music publisher to bring out at the rate of one a scattered over the seats, annonncing, with grave rea
month ?...... The MARETZEK-GAZZANIGA troupe, sons and gracious revelations of the mysteries of fresh froin their Philadelphia triumphs, open in New management, a series of three " Half Dollar Con- | York next Monday, with La Traviata.
Something new in the way of concerts is announced at the Tremont Temple for next Wednesday evening. Mr. H. S. Cutler, organist at the Church of the Advent, and a zealous advocate of English Cathedral music, as sung autiphonally, by answering choirs of boys, is to give us some specimens of that style of music. He will be aided by historical and critical explanations by Mr. A. W. Thayer, our well known “ Diarist” and correspondent. The pro. gramme will be found below ... Master Ernst PERABO, a youth of eleven years old, of German parentage, but reared in New England, is well known among our Boston musicians as possessing decided talent for music. He already plays upon the piano and the organ, and knows by heart difficult fugues, by Bach, &c. He also plays the violin. He is full of native intelligence. All he needs is thorough education in a musical sphere, where humbug has not entered, and we are happy to hear that an effert will be made by subscription among our liberal friends of music, to send him to the Conservatoire at Leipzig. It is really due 10 such derided indications of the true gift.... We have received a most capital photo. graphic likeness of THALBERG from Messrs. Masury, Silsbee & Case.
The following, from a foreign paper, will interest those who are curious to know about Beethoven's only opera :
As I have alrrady taken up the pen for Fidelio, another not so well known notice of the other forms in which the same subject was trented may be here appropriate. In the vrar 1798. there was produced in Paris Leonore; on. l'Amour Conjugal, opéra en trois actes, paroles de J. N. Bonilly, musique de Gaveaux. It was successful, and, some years afterwards, the text was translated for Beethoven into German hy the then secretary of the Theatre Roral, Joseph Sonn. leithner, and into Italian for Fernando Paer, hy some one unknown. Puer's opera, Leonora, ossia l’Amore Conjugale, was produced at Dresden in the rear 1805, (simultancously, therefore, with Becthoven's Leonore ) and subsequentle, translated into German, produced on the 8th of February, 1809, at the Kärnihnerthor Thentre in Vienna. Paer's music was not unsuccesfuil (aster Brethoren's) even in Vienna, for it was given some few times in 1810. From that period, however. Leonore disappeared entirely from the stage, while, it is to be hoped, Fidelio will long maintain its ground.
London.—The concerts of Miss ARABELLA GodDARD, the pianist, and her performance of some of Beethoven's latest Sonatas, (op. 109, 110, and 111,) are the theme of general and unqualified laudation with the London press. Some papers speak as if the difficulties of these sonatas had proved insurmountable, and as if their beauties had been a sealed book; but we believe they are pretty well known among the best pianists in Germany, where the Beethoven of the latter or third period is no stranger.... The great Handel Festival stands postponed to the 15th, 17th and 19th of June....Mr. CHARLES HALLÉ has gone to Paris to engage an orchestra for a series of concerts to take place during the great Art exhibition at Manchester.
The Musical World is very severe upon the Philharmonic Society, which, at a recent election of new members, black-balled such musicians as Mr. Henry Smart and Charles Hallé in favor of candidates of little note. The World ceases “to attach any artistic importance to that Society and its doings.”....Mr. Charles Salaman has been delivering three lectures at the Marylebone Institution on “Music and the Dance," with illustrations of the dance music of various times and nations.... Ella's “Musical Union" concerts, for some time suspended, are resumed. The first programme was as follows: Quartet, B flat, No. 78 (Pleyel Ed.). .................. Haydn Trio in D, Op. 70, Piano, &c. ..................... Beethoven Part Song" Departure".......
...Mendelssohn Quartet in E, Op 43 ............
.........Spohr Elegy -"Peaceful Reposing"-MS...
......Graun Gigue, 6-8, in G; Fantasia Melodique, MS.... Mozart & Derffel Madrigal -" Hard by a fountain".................. Waelrent
5th.... Barbierea Travis
The quartets were played by Messrs. Sainton, Bla re-engaged Mademoiselle Piccolomini for three sup
A CONCERT grove, Goffrie and Piatti. The Herr Derffel, whose plementary representations of La Traviata. When these are given, Verdi's opera will have been performed
, SOF name is so oddly coupled with Mozart's, was com
English Cathedral and Oratorio Music, sixteen times at the Italiens. Signor Mario and mended on Mr. Ella's programme as a wonderful Graziani have appeared on each occasion in the By a powerful ANTIPHONAL CHOIR, (the Boston Chorigpianist.“ With the exception of Liszt," he says, Traviata with Mademoiselle Piccolomini.
ters' School,") will take place at the few pianists more graphically transcribe on the
TRE MONT TEMPLE, piano-forte the elaborate score of great orchestral
PHILADELPHIA.-Fitzgerald gives us the following On Wednesday Evening, April 15, at 7% o'clk.
report of opera at the new Academy of Music during The music of the first part of the Concert will be introduced works,"-whereat the Musical World is funny. the last week of March :
by brief historic and explanatory notices read by ALEX. W.
THAYER, Esq. THE ITALIAN OPERA.- We take from The London Wednesday, March 25th............ La Traviata.
ARRANGEMENT OF TAE ANTIPIONAL CHOIR. Daily News the following account of the performances Friday, “ 27th.... Barbiere di Seviglia.
DECANI--Six boys (Trebles). I CANTORIS-Six boys (Trebles). to be given at the Queen's Theatre during the Saturday, " 28th........ Lucrezia Borgia.
Two Contra Tenors,
Two Contra Tenors. approaching season:
Two Tenors. The following are the company engaged: Madame Wednesday, April 1st...... Barbiere di Seviglia.
Three Basses. Alboni; Mlle. Maria Spezia, of La Scala, Milan &c.
The above choral force is arranged in exact accordance with
Friday night witnessed the debut of Miss Adelaide 1 + (her first appearance); Mlle. Angiola Ortolani of La
Phillipps, from Boston, in the sparkling rôle of Rosina.
ride the English Cathedral system, and is the only choir of the kind Scala, &c. (her first appearance); Mlle. Baillou, Mme.
ever heard in this country. Franchi, Mlle. Berti, Mlle. Poma; Mlle. Treneta This lady has been successful latterly in Havana, and
Organist........ ........ Mr. H. S. Cutler. Ramos, from Turin (her first appearance); and Mlle.
comes to us heralded with no mean reputation as an Piccolomini. The tenors and basses are: Signor American Prima Donna. Miss Phillipps is good
PROGRAMME. Antonio Giuglini, of La Scala, &c. (his first appear looking, has a voluntuous form, and with more anima
PART I. ance); Signor Jacopi, Signor Mercuriali, Signor Luigi tion might show off to better advantage. Neverthe
I-Venite,................. Chanted to Gregorian Tone VII. Bottardi (his first appearance), Signor Belletti, Signor less, she has a fine voice, and is to all appearances an
... Tallis, 1556. excellent musician. Beneventano, Signor Napoleone Rossi Signor Gio
This composition is written in the Dorian key, D minor, As Rosina, she lacked the
without the B flat. vivacity but not the musical education of that young vanni Corsi (his first appearance), Signor Baillou, lady. She has studied in a good school, and we think
3-Full Anthem (without Organ),. .................. Farrant. Signor de Soros, Signor Gariboldi, and Signor Filippo
"Lord, for thy tender mercies' sake." Vialetti (his first appearance). she deserves great credit as an artiste of the Divine
......S. Webbe, Sen. * This list, beside the principal favorites of last year, Art. The Music Lesson, in Art 2nd. was remarkable
llis glory with perpetual hymns proclaim." contains several new names of great Continental in point of execution; there Miss Phillipps displayed 5–Psalm 74,........
.......To an Anglican Chant. fame, particularly Mlle. Spezia, Mlle. Ortolani, Signor the resoprres of her voice to great advantage. And 6-Trio (Three Trebles),.................... From * Elijah." Giuglini, the most celebrated tenor in Italy, and so in the Finale, where she introduced Non piu mesta,
"Lift up thipe eves unto the mountains." from Signor Vialetti, a basso profondo of renown. For the
To be sung by three Boys, without accompaniment. Cenerentola, very effectively. Next in import
7-The Nicene Creed................... Dr. Benjamin Rogers. ballet we are to have our old favorites, Marie Taglioni, ance comes Figaro, the merry barber, with a not very
“I believe in one God." Rosati, Paul Taglioni, &c., beside a number of others fitting representative in Assoni. Amodio seemed to
8- Te Deum (in F),.................................Travers. whose names are as yet unknown in England. us the most successful in his role of Friar Basil, which 9-Verse Anthem,.........
... Boyce. “The theatre is to open on Tuesday, the 14th of he rendered with exceeding gusto. Brignoli, poor
" For the Lord shall comfort Zion." April, with La Farorita in which the new stars Mlle. Signor, was incorrigible. Count Almaviva was miss
PART II. Spezia, Signor Vialetti, and Signor Giuglini, will ing from the scene; we only saw and heard Brignoli,
......... From the “Messiah." appear, and with the ballet La Esmeralda (for the with his sweet, tender, bewitching, ravishing voice.
“Every valley shall be exalted." first time these ten years), in which the heroine will The orchestra wanted nicety, of execution, it was all
Sung by Mr. C. R. Adams.
2-Chorus,..... too noisy and unprartised, notwithstanding the be represented by Mlle. Pocchini, described as a
..." Messiah." danseuse of the highest order. Soon after the opening repeated attempts of the handsome and indomitable
" And the glory of the Lord."***
......... of the theatre, Mlle. Ortolani will appear, with
............"Messiah." Max to control it.
“ Come unto him, all ye that labor and are heavy laden." Giuglini, in the Puritani. Mlle. Piccolomini will On Saturdar night was repeated “Lucrezia Borgia," with Miss Phillipds ir. the role of Orsini. She gave 1
Sung by Master Kred. White. arrive early in April, and will appear in a number of
| 4-Solo, ...
..............." Elijah." new characters beside those which she performed last much satisfaction in this character, and on the whole
itholour hearts ve truly seek me." season. Mme. Alboni is to arrive before the 1st of was hetter liked than on the first night.
Sung by Master Loring. May, and will make her first appearance this season " Linda di Chamounix' was repeated on Monday 5-Chorus,............................... From "Samson."
"O first created beam, and thou great word. night to a fine house, with even greater eclat than the.
Let there as Azucena (the gipsy), in the Trovatore. Don
be light,' and light was over all." Giovanni is promised, with a cast of unprecedented first night. Miss Arielaide Phillipps pleased very strength, including Spezia, Ortolani, and Piccolomini, much in the role of Pierotto. Signor Arnoldi, unfor
Single tickets, 50 cents, or three for $i, to be had at the in the characters of Donna Anna, Donna Elvira, and tunately, did not and could not please.
music stores and at the Temple. Zerlina. Nothing is said about the production of any Mme. Gazzaniga's benefit took place on Friday of new opera; but two new ballets are announced, the last week in Verdi's Luisa Miller, which has since
ORCHESTRAL UNION. one for Marie Taglioni, the other for Rosati. The subscription for the season will consist of thirty
been repeated several times. The role of Luisa Mil The above Society respectfully inform the public that the ler, it is said, was written for her.
LAST CONCERT nights."
of the season will be given at the BOSTON MUSIC HALL, on PARIS.-The immediate hopes of the Grand-Opera
Wednesday Afternoon, April 15, at 3 o'clock are founded on the new ballet of MM. Scribe and
CARL ZERRAHN, .
.......Conductor. Auber, to be called Marco Spada, doubtless taken from the opera of the same name, by the same authors,
wanawa For programme, see papers of the day.
Parkages containing Six Tickets, $1 : Single Tirkets, 25 cts. produced last year at the Opera-Comique. Mesdames
To he had at the music stores of E. U. Wade, Russell & RichRosati and Ferraris will both sustain principal parts.
ardson, Tolmun, and at the door. Some expectations are also entertained of a new two LAST FIFTY CENT CONCERT. act opera, Francois Villon, by M. Membreé. The indisposition of Madame Steffanone has led to the
MUSIC HALL, SATURDAY, APRIL 11. MENDELSSOHN MUSICAL INSTITUTE. postponement of I Puritani, at the Italiens, which
MWE Summer Term commences April 80th. Pupils may theatre is announced to be closed on the 31st instant. Admission Fifty Cents -- Seats reserved without extra charge.
I receive, as amateurs or teachers, a thorough education in The success of Oberon at the Theatre-Lyrique increas
every department of Music. Also in the Modern Languages, es nightly. The Bouffes-Parisiens has produced a
Drawing Painting, &c., and higher English branches as new operetta in one act, entitled Apres l'Orage, the
accessaries. Situations sucured to pupils who become qualified MR. SCHREIBER.
to teach. A few vacancies for young lad.es in the family of words by M. Boisseaux, music by M. Galibert, which promises to have a run. On Monday week Mozart's
the Principal. For circulars, &c., address
Mr. TIIALBERG will play Norma, the Prayer of Moses, Requiem was executed by the Société des Jeunes
EDWARD B. OLIVER, PITTSFIELD, Mass. Artistes du Conservatoire in-the Church of the Made
The Iluguenots, Semiramis, and two Songs by Mendelssohn.
NEW MUSICAL WORKS, leine, under the direction of M. Pasdeloup. M. Cal
Tickets 50 cente, to he had at Russell & Richardson's, 291 zado intends having a new repertoire for the Theatre
RECENTLY PUBLISHED BY
OLIVER DITSON & CO., BOSTON. purpose of negociating with Mercadante. M. Calzado | Doors open at 7% ; Concert to commence at 8 o'clock. wishes to produce in the Salle-Ventadour, several of
BASSINI'S ART OF SINGING. An Analytical, the works of this celebrated composer, who is admired TUESDAY, APRIL 14....MUSIC HALL.
Physiological and Practical System for the Cultivation of everywhere but in Paris. It is, however, desirable.
the Voice. By Carlo BASSINI. Edited by R. STORRS WILindeed important, that the illustrious composer should
ONLY AFTERNOON CONCERT. LIS 1 vol. 4to. Price $4. superintend their production himself. Mercadante,
COOKE'S VOCAL METHOD. New and revised
Positively Last Appearance in Boston. (says M. de Rovray, in his last feuilleton in the Mon
edition. Comprising all the latest lessons and exercises of S. THALBERG, iteur), is the intimate friend of Rossini, and perhaps
the author 1 vol 4to. Price $3. this fact may triumph over his natural id eness; for
MME. JOHANNSEN, MR, SCHREIBER. THE CONCERTINA. A Complete Course of Instrucnothing in the world has yet induced him to leave Doors open at 2% - Concert to commence at 3 o'clock.
tion, with a choice Collection of Popular Music, for the Ger
man Concertina. 8vo. Price 50 rts. NEARLY READY, Naples, where he is perfectly contented, greatly The sale of seats commences April 13.
Instructions and Music for the English Concertina. 50 cts. esteemed, and enjoys the same position as Auber in
THE PSALMS OF LIFE. A Compilation of Pealms, Paris. At this moinent Mercadante has a new opera On MONDAY, Thalberg's only Fifty Cent Concert in Salem.
Ilymns, Anthems, Chante, &c., embodying the Spiritual, i in rehearsal at the San Carlo. If the work succeeds
Progressive and Reformatory Sentiments of the present age. as every one expects, M. Calzado will produce it in MRS. J. M. MOZART,
Dy By Jonx S ADAMS 1 vol. 12mo. cloth. Price 75 cts. Paris. "M. Calzado's troupe will be strengthened by
(Formerly Miss SOPHIA BOTHAMLY,)
Nearly Ready : THE MEMORARE. A Collection the addition of new talent, worthy of being placed at
Will give her first and only
of Catholic Music. the side of Mario. Alboni, Graziani, and other distinguished artists. Everybody is speaking about Giulini, GRAND CONCERT
NEW MUSIC, one of the best tenors in Italy.
In Boston prior to hir departure for Europe,
JUST PUBLISHED BY
| J. H. HIDLEY, No. 514 Broadway, Albany, characters were sustained by Madame Duprex-Vandenheuvel. Mlle. Boulart, MM. Barbot and Jordan
LA CONQUÊTE, Morceau de Salon, by AUGUSTE Mademoiselle Piccolomini took her benefit on Mon
Miss TWICHELL, Mr. ADAMS, Mr. MOZART, GOCKEL, .......... | day the 26th ult, at the Italians, when La Traviata Mr. L. H, SOUTHARD, Mr. W. R. BABCOCK, MARCHE D'AURORE, pour piano, par A. Gockel,..59 was given with a concert. The Salle Ventadour was
THE GERMAN TRIO
50 crowded to excess, and the lady recalled several times | And the MENDELSSOHN CHORAL SOCIETY.
Something SWEET, (comic medley) 0. A. ARCHER, 37 in the course of the performance. M. Calzado has
Tickets 50 cents.. ... To cominence at 7% o'clock. | Tue WITCHES' GALOP, for piano, by M. LIEBICI, 35
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