oftener puzzled than the ear of the amateur. Do completely. In the symphony Beethoven addresses certes, he would not crush them then with his not think in this entirety there is no place for himself to a large audience, such an audience as own hand beneath the brutal pressure of brass grace, airy grace, for playfulness, for genial and an orchestra would assemble. In the sonata, in instruments and gongs.

I know that I may be capricious gaiety. One of the most singular the quatuor, he is more familiar; he comes near reminded of the anvils of Il Troratore ; but that traits of Beethoven's genius, is that he is never us, althongh his idea always appears in a grand is only an exception. This cadenced sound of more sublime than when he seems determined form. Melodies are also in it, and if they are not the forge, which has found admirers among us, upon airy grace. What wonders does he not more abundant, at least they are more apparent, only accompanies two couplets sung by gipsies, produce, with the most insignificant fragment de- and more free from the attendance of instrumental the words of which are not very important. M. tached from a leading theme? resonation and combinations.

Verdi has always been master of the science of Such are the last quatuors and the last sonalas

contrasts and stage effects, the secret of grouping of Beethoven. We may, it is true, prefer the

voices on the front or at the back of the stage, of works which by a common consent are classed as I hope you are not fatigued, and that I still relieving a melodly without novelty or any salient being of the “ second manner" of the composer.

command your attention sufficiently to read with point by a syllabic chorus, a slower or more rapid We may examine them through the microscope interest M. Fiorentini's criticism on Verdi, which measure, a sound which is broken off or prolonged, and discover strange associations of actorils, hard I have long kept by me, waiting the propitious which increases or is extinguished.


moment which would allow me to send it you. Nobody better than he can make the most of a I

dramatic situation, but then it must appeal to the admit all these criticisms, which in no wise dimin- and La Traviata, marks, together with these two eyes as well as to the soul; all the accessories, all ish my praises.

last works, a new phase in M. Verdi's talents, the illusions of theatrical optics must aid the

which may be called his “second manner.” The effect; the day must fade away and the moon It is all-important that these works be executed first compositions of the young maestro breathed rise; the bell must chime, the organ wail, the in certain conditions, not only of rigorous exact- something grandiose, heroic, and virile, which storm burst in all its strength, and the thunder ness and fidelity, but also of room and resonation. made an impression on Italian imaginations, roll, peal after peal. See how he carries away To have them executed, for instance, by all the enervated and blunted to disgust by the old the public! A woman weeps, a prisoner sobs, violins, all the altos, all the bass viols of an orches- formulas of melody, which had been incredibly invisible voices sing the passing prayer;--and you tra, would be to disfigure them, to efface their abused. The new comer aimed at higher des- have the finest piece of the Trovatore ! Conpeculiar mark—I had almost said, to bereave them tinies, and was animated by a noble ambition, to spirators menace in the shade and murmur threats of their chastity and virginal character. These found in his turn a new school. No subject of vengeance and death, while a brilliant barque last quatuors must be heard at the concerts of seemed vast or lofty enough for him; the Cru- filled with handsome women and noble young MM. Maurin, Chevillard, Mas, and Sabatier. It sades, Palestine and Egypt, Italy and Spain in lords, floats over the dark blue sea, basking in was indeed a red-letter day for these young men, the Middle Ages, the intoxicated pride of Nebu- sunlight, and sing to the breeze the gay burden of the day when the author of Guillaume Tell and chadnezzar, and the punishment which fell upon a ballad;—and you have the best scene of the Il Barbiere di Siviglia (it was three weeks ago)

him at the foot of his broken idol, the sand of the Vepres Siciliennes ! walked alone to the room where they rehearse, desert watered with Lombard blood, the impla- Two voices laugh on one side, two voices weep and asked them to be good enough to play him cable vengeance of old Sylva, and the solilo- on the other, and in the background of this sinone of their favorite quatuors.

quy of Charles V.: 0 sommo Carlo,—all these ister scene a knife is uplifted to spare the guilty The surprise, delight, pride, and gratitude of but half satisfied him. He would have called to and immolate the innocent-and you have the these young men at this unexpected visit


be his aid Homer and Dante, David and his Psalms, most admirable page of Rigoletto?. Doubtless conceived. The famous quatuor in ut diese minor Solomon and his Canticles, Sophocles, Corneille, this is not everything; when the situation has was executed; this single listener was no other and Shakspeare, that he might make “ books" out once been found, the talent of the composer than Rossini. Ile suggested this quatuor, not

of their dramas and immortal poems. But if the consists in choosing the melody and rhythm well, because he had heard it before, but because he idea was great, and the inspiration generous, the in disposing and combining the voices, and placing had heard it spoken of as one of those which best afflatus often failed the young composer, and his them together and in relief by the skilful opposicondensed and exhibited that period of indepen- powers betrayed him when he deemed himself

tion of a counter-point. I am far from wishing to dence, poetry, and unrestrained genius by which nearest the goal he would reach. His hand was disparage, in any respect, the talents and merits Beethoven terminated his glorious career. Never not yet sure enough to fill out the lines it had of the illustrious maestro; I explain the method did the four instruments resound with more traced without deviation. In a word, the execu- he most commonly employs, and which he would vibratory and pathetic accents; never did bows tion did not always correspond with the design. do wrong to change, for he has invariably been move with more enthusiasm and fire; never did His phrases were short and abrupt; his musical successful with it. soldiers, animated by the presence of a general- period was neither large enough nor clear enough Louisa Miller was a great progress. It exhibin-chief, march with more order and promptness.

for the development of his ideas; his noisy and ited the new path the composer was endeavoring When the piece was ended, rest assured that the hard instrumentation went by hops and jumps, to find.

It is written with infinitely more care great maestro was in no wise embarrassed to and seemed to drive melody away before it, à than his preceding scores.

It contains general express in simple and charming language, how grands coups de pied dans les reins.

He was

pieces in perfect harmony, and which do not owe highly he appreciated this admirable execution reproached with abusing the crescendo and with all their effect to unison, that method which tells and the traits of genius so numerous in the work; employing the unison, not only several times in on the crowd, but which masters of the art disdain and when he told them of the visit he, Rossini, the same work, but in the same act, and in the as being too vulgar and too monotonous. Neverpaid Beethoven at Vienna in 1822, he spoke in

He had, too, the reputation of being theless Louisa ililler, despite its numerous beauthe most feeling manner of the poverty, the want, without pity for voices. They said nobody would ties, had only a passable success at the Italian the wretchedness in which he saw the great man, use altos and trombones as he used singers. Opera in Paris. It failed completely at the Grand and the painful impression he retained of the visit. These accusations, whether just or unjust, cer- Opera, although an excellent artist, Mme. Bosio, Since I am speaking of Rossini, let me say that tainly were made from every quarter.

filled the chief rôle. Because as yet fashion had those are greatly mistaken who imagine that

Two or three works which' followed I Lom- taken under its protection neither the composer Rossini, after having voluntarily abandoned his bardi, Nabucco, and Ernani, had not the success nor the lyric actress, the tide did not serve them. career at the age of thirty-nine, closing it with no

of the first compositions. A profounder and Mark this well, and never regret too much the less a production than Guillaume Tell, remains calmer study of the resources of art and of the lukewarmness and the repugnance of the public; indifferent to musical art and its progress in Italy, taste of the public then inspired M. Verdi with never reckon too confidently on its caprices and France, and Germany. No one, on the contrary, serious reflections. He varied his style, and its favor. observes with livelier solicitude the march of moderated, while at the same time he studied Of the three works instanced at the beginning institutions and men likely to be of service to the more attentively, his harmony. He voluntarily of this article, La Traviata is certainly the art. Rossini is the Classic. He daily meditates descended from the flight on which he had soared feeblest. Il Trovatore has more character, more upon the works of Jean Sebastian Bach. Haydn, with a fortunate, but sometimes unequal and unity, more elevation : Rigoletto has more charm, and especially Mozart, are in his eyes the eternal dangerous wing, to walk with a firm and confident more tenderness, a nobler and purer sentiment, models. He admires too the works of Weber, step upon a verdant lawn. He abandoned his and (what the other operas have not) a well Schubert, and Mendelssohn. His judgments are pretension of being always sublime, to express drawn, distinct character, master of the plot, equitable, full of good feeling, and altogether more true, more human sentiments, to speak a almost always on the stage, and filling the four without personal vanity. I have just said that simple, a more touching language, which every acts of the drama with his grief, his irony, his Rossini is the Classic. I add that he has always body could comprehend. He quitted the epic and anger,

his vengeance

and his despair. The been so.

the historical painting, for familiar and domestic instrumentation of Rigoletto seems to me the best When he was eleven years old he led at drama, for cabinet pictures of smaller dimensions M. Verdi has yet dictated. It contains the Bologna the oratorio of " The Seasons.” His but of a more delicate, correct, and finished greatest beauties.

Many musicians prefer the fellow pupils observed his predilection for Haydn touch.

quatuor of the last act to the famous Miserere. and Mozart, and he is fond of telling how his We need only glance at the last scores written Perhaps they are right. Let that be as it may, master, Mattei, never called him by any other by M. Verdi to see how much he has modified his the three last scenes of M. Verdi have a family name than il piccolo Tedesco. As for Beethoven, manner, and put, so to speak, the “soft pedal” to likeness which cannot be mistaken; which is he holds him in almost religious veneration : his orchestra." He has now melodies of exquisite proper enough in sisters, children of the same “ Beethoven is complete (tout entier), in his grace and freshness, which once he would have father: sonalas," he frequently says. By which I under- rejected as being too ingenuous or too popular.

“ Facies non omnibus una, stand him to mean that those who know Beethoven He has delightful details of accompaniment,

Nec diversa tamen,” etc. only in one of his symphonies do not know him flowers of harmony so delicate and so pure that,

same scene.

VERDI IN EXETER HALL.--The London Surrey Gardens. With a portion of the same

whole effect of the music to their the singers'-ears, olla podrida the concert had been imposingly in- is changed, by a quite different arrangement of the Times of April 14th, has the following:

augurated. The other pieces from the Trovatore choral pieces. The best singers in the world must A musical entertainment of a novel and varied were the duet between Leonora and Count de rehearse together if they will sing well in concert. character took place last night, under the title of Luna and the canzone of Azucena, the gipsey, They must moreover rehearse where the influences the “ Grand Verdi Festival,” which attracted an Stride la rampethe first of which was intrusted acting upon them shall be about the same as in the immense concourse of people to Exeter Hall. to Miss Vinning and Mr. Weiss, the last to Miss public performance. Let me illustrate. In opera, a For the admirers of Verdi, the popular repre- Dolby.

concerted piece is studied, with the singers in the sentative of Young Italy, the concert provided Strange to say, the morcenur from La Traviata

same relative position to each other that they are to was a real treat, since it comprised a selection of produced scarcely any effect, although the grand favorite morceaux from his three more successful aria of the heroine: Ah forse lui," was admira

hold when they sing in public. Certain tones come

to their ears and guide them in coming in, in proper operas-11 Trovatore, La Traviata and Rigoletto. bly sung by Madame Novello, and the brindisi, The means of execution, vocal and instrumental, - Libiamo, libiamo,” (which almost fell dead"),

time, tune and rhythm. If this be an important moreover, were on a scale of the highest efficien- enjoyed every chance of suctess in the hands of

matter in such a case, how much more important in cy. The band was chosen from among the mem- Miss Vinning and Mr. Sims Reeves. The lengthy

the case of a huge chorus of five or six hundred bers of the Orchestral Union, and directed by mock-sentimental duo between the lovers, in the

voices, most of whom never sang in concert before, Mr. Alfred Mellon. The solo singers were Mad- final and most pthysical scene of the opera,

and many of whom, however good singers they may ame Clara Novello, Miss Louisa Vinning, Miss ( Parigi o cara "), essayed by Miss Vinning and

be in other music, cannot in so short a time as three Dolby, Messrs. Weiss, Millardi and Sims Reeves. Mr. Millardi, went for nothing, nor did the lach- or four weeks learn to feel at home in the music of The chorus was from the Royal Italian Opera. rymose apostrophe of Alfredo's easily affected “ Elijah,” the " Messiah” and “ Creation?" Thus everything had been done to give the parent—" Di Provenza"— with all the good will If the only change made be to extend the present utmost effect to the music, and the result was in that Mr. Weiss exhibited in its performance, ap- stage, how, under heaven, is it going to be possible all respects satisfactory.

pear to strike the audience with any greater de- for all to stand in such a position as to read their Some curiosity was excited about the pro- gree of amazement. Probably landel, Mozart music and watch the conductor's baton at the same grammes, which on such occasions generally con- and Mendelssohn may have wrapped the interior time? I do not know in whose hands this matter tain the words of all the vocal pieces; and it was of Exeter Flall in an atmosphere unfavorable to rests, but in the name of all of us, who are not great very naturally apprehended that the Exeter Mall Verdi. At any rate the only piece in the Tra

singers and capable of going along blindfolded, I committee, who were so straight-laced about the viata which afforded the least gratification was

pray that the wishes of Mr. Zerrahn as leader, and of Stabat Mater and the Requiem, would entertain the aria of Madame Novello, above mentioned;

us his subjects, be consulted. Let us sit at the perstrong objections to the text of the notorious and that, we make bold to say, was caused rather Traviata. The committee, however, had, in vul

formance as we do at the rehearsals, and then if by the singing than the music.

we break down, we will bear the blame cheerfully. gar parlance, taken the bull by the horns; and The Rigoletto selection began with the introinstead of authorizing the distribution of such a duction and ball scene, and terminated with the

At the rehearsals, the semicircular position of our carefully edited bill as might have been appropri- polonaise, (for orchestra), the interval between

seats cnables us to hear the other parts, and we can ately styled - Beauties of 11 Trovatore, La Tra- the two being filled up by five of the most admir

always tell where we are. At the performances in the viata and Rigoletto," condemned all three, by in- ed vocal pieces, allotted to the singers we have

music hall this past winter, this was not possible in sinuation, as unfit for the sanctified precincts of named. After all, notwithstanding its diffuseness the case of many who occupied the rear rows of seats. that edifice which has been pleasantly denomina- and the trivialities in which it abounds, Rigoletto Then as to the improved effect which the choirs ted" the architectural glory of the Strand." To is the best of Verdi's operas, and the quartet, thus arranged will produce, that has been previously quote the paragraph conveying the intimation, Bella Figlia,” the best of Verdi's compositions. discussed in your Journal, and I will only add, that I they " interdicted the publication of an English If only he could always write in this manner, or heard men express their utter astonishment at the translation of the programme in the form of a in the manner of some parts of the Trovatore, volume and fullness of Mr. Werner's chorus last Sun book of words.” The naughty sentences were he would perhaps neither be so rich, so prosper. day evening, which, as you know, numbered in all not allowed to be breathed and uttered by the “sing- ous, nor so eagerly idolized by the untutored and

more than the tenors or the basses of the Handel and ing men and women,” but forbidden to be print- listless crowd, hut he would stand a better chance

Haydn Society, bụt which by means of a temporary ed; they may be heard, but not seen. N'importe; of outliving himself in his music.

platform, was brought into a compact body in the the whole was delivered in the Italian tongue,

centre of the stage, with all the orchestra behind. which " soft bastard Latin ” is probably regarded To the Editor of Dwight's Journal of Music.

If our arrangement at the rehearsals be broken up by the Exeter Hall authorities as something akin to hieroglyph.

The Festival-Arrangement of the Stage. at the performance, a single rehearsal in a new posiWith regard to the enormous audience that The rehearsals for the Festival are going on very

tion will hardly be sufficient to do away with the ill assembled last night at the call of Verdi, it was successfully indeed. On Tuesday evening about four

effects of such a measure; and I for one should desurmised that three-fourths consisted of persons hundred persons took part in the “Creation,” which

sire to be excused from attempting those enormously who would on no account have been tempted to after the very difficult music of "Elijah,” was taken

difficult choruses in “Elijah.” visit a theatre, and yet thought it quite legitimate

A MEMBER OF THE CHORUS. up with great energy and success. to listen to the words and music of La Traviata

It is evident now that some important changes in Exeter Hall. Whether this was or was not

must be made in the arrangement of the stage, as its the case, some poetical wag must have considered

Diary present capacity will not be sufficient to receive the theme a good one, since a lyrical squib was the great number of performers who are to take part.

APRIL 15th. -- Looking into the “ American Notes circulated in the hall through some mysterious What shall the change be?

and Queries " for this month. I suppose such periagency, which caused no little speculation and merriment.

Some propose extending the stage forward into the odicals are to be considered as authorities. If so, I The performances gave great satisfaction, and

hall. By this of course many seats upon the lower am greatly indebted to the first article in this number

floor would be lost to the audience. Can this loss not there would have been no end of encores had

for the following pieces of information : Mr. Sims Reeves and Madame Novello, who were

be avoided ? If seats are to be sacrificed-and they 1. That J. J. Heidegger's name should be Heid. first honored by a redemand-in the scene of the clearly must be—why not sacrifice those which are in

igger, and that Hawkins, Burney, Hogarth, the "Miserere ” from the Trovatore-displayed the the stage ends of the lower gallery? For my part, as

Encyclopedias, &c., are wrong in their spelling. courage and good taste to resist it, satisfied to a member of the choir, it would be a great gratifica

2. That Handel's name is George William. acknowledge the compliment by returning to the tion to me if the public was excluded from those seats

3. That “ Heidegger did not relish the opposition platform and bowing to the audience. The mal- at all choral performances. We want the audience

which Handel caused, and resorted to many things contents continued obstreperous for a long time, before us, and it is no very pleasant thing to have

to injure the character of Handel." however; and when at last Mr. Weiss came on fifty or a hundred strangers just at your elbows, who, to sing “ Il balen,” he was saluted, amid conside- being so placed that they can only hear one or two

Queer, is it not, that so independent a fellow as rable applause, with a tolerable amount of sibil

was Handel, should have entered into an engagement parts in a chorus with distinctness, have nothing to lation. The good feeling of the majority, never- do but talk and laugh, and criticize the imperfections

with this Heidegger in 1729, to carry on the musical theless, soon stifled these uncourteous sounds, and

of the unlucky individuals, shoutir.g for dear life, Drama at their own risk! In order to save time, Mr. Weiss was allowed to wade through that som

who happen to stand hard by the gallery. But how Handel, in the autumn of 1728, set off for Italy, niferous air in peace. Another boisterous call

will the sacrifice of the seats in the ends of the lower where he engaged a new band of singers. July 2d, for repetition followed Miss Louisa Vinning's gallery help the matter ? execution of the cavatina, Tacea la Notte ; but

1729, the following announcement appeared in the she, with commendable spirit, imitated the exam

Simply, Sir, by allowing the removal of the railing London Daily Courant : ple so wisely set by Madame Novello and Mr. in front, and building a temporary structure of seats,

“Mr. Handel, who is just returned from Italy, has Sims Reeves. The storm raised by this second rising amphitheatrically, from near the conductor's

contracted with the following persons to perform in disappointment, and kept up with great obstina- stand to the gallery. What is there to hinder turning

the Italian Operas : Signor Bernacchi, who is esteemcy, wore itself gradually out till it was lost in the the end of the music hall into nearly the form of the

ed the best singer in Italy; Signora Merighi, a still more potent clamor of Mr. Alfred Mellon's lecture room below? If this should be done, every

woman of a very fine presence, an excellent actress orchestra, which brought the first part to an end person who has ever had experience in chorus singwith some of the most vociferous of the Verdian ing, will see how much easier it will be for the singers

and a very good singer with a counter-tenor voice; harmonies and unisons, gathered from the “Se- to perform their parts, than if, after having learned Signora Strada, who hath a very fine treble voice, a lection " so well known to the patrons of the them below, when they come to sing in public the person of singular merit; Signor Annibale Pio

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Miss Raymond

Fabri, a most excellent tenor and a fine voice; his Schiller's "Lay of the Bell,” by Romberg, and Men- In the concert room one would find incomparably wife, who performs a man's part exceedingly well; delssohn's beautiful 42d Psalm. What glorious more pleasure in the wealth of splendid arias and Signora Bertoldi, who has a very fine treble voice ; music in the latter composition! We wonder that duets with which Mozart lets his four (!) female she is also a very genteel actress both in men and Eastern societies do not perform it more frequently singers alternate. Köster and Johanna Wagner diswomen's parts; a base voice from Hamburg, there than according to public accounts they seem to do. tinguished themselves. The former caused rapturbeing none worth engaging in Italy."

The opening chorus to those inspiring words: ous delight by her classical rendering of the airs in G This base voice was John Gottfried Reimschneider. the hart panteth after the water brooks, so panteth F, in which we disliked only the often too protracted May 18th, 1734, Handel's Pastor Fido was revived, my soul after Thee, O God!" is as fine, we think, as ritardando, by which she more than once in the great ran thirteen nights, “and terminated the season anything Mendelssohn has written in that style. duet placed Wagner in the most painful predicament, July 6th, and Handel's contract with leidegger.” The Philharmonic Society, for their last concert, weakening still more the already lifeless action. April 29.—How easy it is to get a glimpse of had the following programme:

Fräulein Wagner excelled particularly in her recitareal musical enjoyment! Last evening our little

tives and in the Rondo in A, whereas her execution Society at Cambridge gave a concert, under the di

Symphony, No. 2, in D.

. Beethoven Aria from the Opera, " Charles VI.".


of the passages in triplets in the Aria in B flat, left rection of Mr. L. H. SOUTHARD, of which the “roast

Miss Fanny Raymond

much to be desired. “ Concert Militaire," for the Violiu.

Lipinsky beef” of the bill of fare was the 16th Mass by Haydn,

Mr. II. De Clercq.

Goethe's “Egmont," with Beethoven's music, was followed by a selection of lighter music.

revived at the court theatre ; but it suffered greatly Overture_4 Echoes of Ossian", The affair was quite successful. Now why is it

in the orchestra through lack of energy in the conCavatina, from the Opera “ Betly: that in our smaller cities, we can so seldom hear

ductor, the concert-master, Ries, who never will be Overture--"The Marriage of Figaro".

Mozart anything of this kind, and that about all the staple

competent to seize the intentions of Beethoven and concert music (!) is made up of Negro melodies and

We need not hide a little pride in giving our pro- infuse them into the performers. "old folks'” psalmody?

grammes repeatedly to publicity; it is truly refresh- Cherubini's Wassertrüger, (Deur Journées), worthiTwo things only are necessary, namely: patience ing for us musical people, after years of panting for ly takes rank with the best operas of our German and perseverance on the part of the members of the some good orchestral performances in this thus far masters. We find the grace and sincerity of Haydn musical society, and a conductor who knows what musically benighted city, to have heard this winter in the melodies, the strength and significance of he is about. So far as my observation extends, in

three Symphonies of Beethoven and one of Haydn, Mozart in the harmonies and the ingenious treatour country towns, there is not one of four or five besides many fine overtures. We certainly have, ment of the orchestra by this Florentine. With his thousand inhabitants, where there is not musical accomplished a great deal for only one season, and eminent talent, and his fresh and glowing power of talent sufficient for just such a concert as this of last yet we look upon this as merely a beginning, and invention, he has striven to equal these German evening with a few choruses, a few songs, part of

have strong hopes of much better performances and models. In all his creations he shows originality, a mass, and a piece or two of organ or piano.forte

of more good music during the next winter. The depth and nobleness of thought, and shines as a wormusic, I can enjoy an evening in Yankee land,

Philharmonic Society are already seeking to obtain thy scholar of Sarti not less by his dexterous treatthough not in the same manner, as well as in the

subscriptions for six concerts, to be given next win- ment of the voice-parts, than by the fine painting in grand opera houses and music halls of Europe. Try ter; they are for striking the iron whilst it is hot, his instrumentation, which lends quite a peculiar it, good people of the country!

and their many generous friends give them a liberal charm to his works. As in the music of the church MAY 2.-A writer in the Independent, speaking of

assistance. We want for our orchestra some good he has won an immortal name by his Missa solennis Beethoven's Heroic Symphony, says:

performers on the horn, violoncello, oboe and trum- and his Requiem, so do his Medea, his Lodoiska, and " It will not detract from our love of Beethoven to

pet, and well educated musicians, who play on these especially his “ Water-Carriers” secure for him a know that when Napoleon was made emperor, the instruments, would be gladly welcomed and could place of honor among the classical opera composers: Symphony was not finished; and he was so much probably make a tolerably good living here next The overture, as well as the two finales in E flat and disappointed at the supposed change in the great man whom he had honored, that he threw it aside

winter. Many very able German musicians, when in E, are rich in the most beautiful effects, and full in disgust, and did not finish it for years afterwards." emigrating to this country, seem to remain in New sounded right well; which cannot be said of the Very pretty-but unluckily the symphony was

York, and there to be lost in the crowd and among of character and life. The air of the Savoyard, finished.

the many temptations of a great metropolis ; where- which was satisfactorily rendered by Herr KRAUSE, MAY 4.-A typographical error in the remarks of

as, should they come to the Western cities, we doubt denotes the character admirably. The introductory Mr. Thayer, in Dwight's Journal last week, makes

not they would in a short time secure a much better motive appears again very expressively in the meloHandel come to London in 1702. His first visit

position and find more solid friends than in the drama of the second act. We see that the art of thither was 1710. He settled there in 1712. Broadway beer saloons.

musical signalizution, which our modern opera reMay 6–Looking through a pamphlet printed at

Our Quartet Club continues to give soirées in pri- formers claim, as they do much else, as their own Wittemberg in 1528, containing Luther's instructions vate parlors, and to perform Quartets by Haydn, invention, was used already then; and I recall a to the parish clergy of Saxony, my eye fell upon a Beethoven, Kreutzer, etc. To-morrow the Cecilia

happy example in Gluck, who repeats the sweet passage, which strikes me as not inapplicable at the

and Philharmonic Societies give jointly a grand sounds which greet Iphigenia at her reception in present day, changing the word German to English.

Benefit Concert for their excellent friend and leader, Aulis, again on the occasion of her banishment in He says, being translated : "On high festivals, as Mr. Ritter. In a week or two we shall have the

Tauris, as a painful reminiscence of long-fled, rosy Christ day, Easter, Ascension day, Pentacost, and

opportunity of hearing the lion, Thalberg and his youth. The performance of the Wasserträger sufferthe like, it may be well that some pieces of music in

antiquated Fantasias; we see his prosaic face now in ed on the part of the singers in the first act from a Latin be sung during the mass, using such as are

nearly every shop-window.


certain lifeless monotony of manner, only relieved biblical. For it is folly always to sing the same

by occasional flashes from Mme. Küster and Herr music. And although some will make German

BERLIN, April 1.–The Royal Opera opened Krause. The choruses of soldiers in the second act music, not every one has the talent and grace thereto."

the new year with Weber's genial creation, Euryan- female voices which introduced the wedding congratHere is a passage from another pamphlet of Lu

the. The representation was in part very successful, ulations in the last act; these made an unpleasant ther. It is an address upon the subject of schools,

made so chiefly by JOHANNA WAGNER as Eglantine, impression by the sharp and cutting distinctness of to the various city governments of Germany. The

and Fran Koester as Euryanthe. Both are among their tones. The voice of Fräulein Gey sounded copy from which I translate was printed at Wittem

the best and finest rôles of these two singers, and the very prettily, while that of Fräulein Sieber was berg in 1524, while the author was still a monk :

public, warmly alive to the high artistic enjoyment, almost inaudible. “People take so much time and pains to teach their

conld not applaud enough to express its enthusiasm The Kapelle, under the dirçction of Kapellmeister children to play cards, to sing and dance, why do after the great aria of Eglantine and the following Dorn, has done excellent things. Dorn has produthey not take as much time to teach them reading pieces. and other arts, while they are young and have nothing

ced a new comic opera : “A Day in Russia.” The else to do, and can learn easily and with pleasure ?

The management saw fit to celebrate the birth-day

first act alone is interesting; hence it was well for For my part, had I children or could I have them, of Mozart, (Jan. 27), by Donizetti's Liebestrank,

the total impression, that the composer shortened it they should not only study languages and history, (Elixir of Love)! Not till two days afterwards was after the first representations. The greatest applause but singing also, and music and mathematics. For Mozart's - Titus " produced, and that too as—the followed the extremely lovely representation of what is all this, (for them), but mere child's play ?”

first carnival opera! Although this opera, (compo. Johanna Wagner, who in this opera showed not only sed by Mozart for the coronation of Leopold I., in that she is remarkable in the tragic and heroic 1791, immediately after the Zauberflöte and before sphere, but that she also possesses a rich vein of the

the Requiem), is over-rich in musical beauties, yet it most surprising and delightful humor. The part of Cincinnati, O., APRIL 22. During the past cannot be denied that, with the exception of the Kalikoff needed, so long as it fell into no finer four weeks we have had quite a number of concerts, grand and powerful Finale in E flat, the music does hands than those of Herr Bost, still further shortand some pretty fair performances of most excellent not rise to that dramatic life, that inspiration, which ening. music. The St. Cecilia Choral Society gave us we admire in other operas of the immortal master. Iphigenia in Aulis, and Orpheus, those two master

Musical Correspondence.

Dwight's Journal of Music.

works of Gluck, have by their last performance, in part of March, Verdi's Trovatore was got up with ed out for their severely taxing efforts. — So much spite of many faults, especially on the part of the great expenditure of forces. Verdi, in a little more for the last three months of Opera in Berlin. Next director, rekindled in thousands of hearts that en. than fifteen years, has produced upwards of thirty week we will review the concerts.

.. thusiasm with which the operas of Gluck's last pe- operas, nearly all of which have excited a real fanat. riod must always fill the soul that is at all suscepti- icism in Italy, but only a few of which, and those ble to the true and the beautiful. It is well known with small success, except Ernani, have found their that Gluck, after he had already written more than way into Germany. The success of the Trovatore forty operas in the conventional style of the day, first is striking, since Verdi has written far better operas. made in his Orpheus the beginning of that radical Great poverty, nay barrenness of invention indeed is BOSTON, MAY 9, 1857. reform which laid the foundation of a new era of its chief want. Those moments which impress the operatic style. That opera was first brought out in ear agrecably, contain only happy reminiscenses,

CONCERTS. 1764, in Vienna, and had even then a decided success, and more than palpable allusions to the works of his without being comprehended in all its majesty and predecessors. But in our present poverty in melody,

The Catholic Choirs.—Mozart's Requiem, grandeur by a public completely prepossessed by one is so comforted and grateful, if a pleasing can.

besides other Catholic music, was performed on the petrified manner of the then prevailing bravura tilena of the singer interrupts for once the orchestral Sunday evening in the Music Hall by the Choir opera. Gluck then turned to Paris, where he found spectacle, that such melorlic passages always kindle of the Cathedral in Franklin Street, assisted by an altogether greater field for his efforts. At length up enthusiasm. Sharply pointed rhythms, often members of the Choirs of SS. Peter and Paul, the Iphigenia in Aulis was performed on the 19th of worse than grotesque, syncopations, staccati, and re- South Boston, St. Patrick's, Northampton Street, April, 1774, at the express command of Queen Maria tarded passages, must give a new aspect to the old

and of the Holy Trinity, Suffolk Street, together Antoinette, and in spite of all sorts of chicanery, measure :-add a mysterious instrumental accompa

with full orchestra and organ, all under the direcwith a success scarcely equalled in the history of niment, a gigantic cadence, and the effect is certain.

tion of Mr. A. WERNER, musical conductor at opera. In two years it was performed two hundred Effect, and only effect, is the spar to all the deeds of

the Cathedral. The united choir was small, times. Gluck, not without justice, has been called Verdi, and you may trust him that he will reach it the Aeschylus among dramatic composers. No one for the most part in a very cheap way. He.expenda numbering about sixty voices all told, so that the understood, better than he did, how to portray great ed the gratest labor upon a refined, and to the Ital

great choruses of the Requiem could not be expassion, antique heroic shapes, in music. The sharp- ians almost entirely new treatment of the orchestra ; pected to roll forth with the majestic volume that iness of his characterization, the intelligent repro- sought to make the rhythmical part as piquant as

they did from the two or three hundred voices of duction of all the details of the poem, the wonderful possible; no matter what the subject of an aria, in. the Handel and Haydn Society. Yet the effect truth displayed in his use of the then existing orches- troduced sharply accented triplet passages into the was far greater than we could have anticipated; tral forces, the sublimity of his choruses; to which voice part; set, in place of the cadenzas formerly indeed at times the sublimity of the music was add the highest and noblest simplicity, which so often sung upon one vowel, declamatory passages with fully realized and felt. And this was owing leads him to the song form, weaving the sweetest words on every note; wove in many, in some respects partly to the earnestness and heartiness with spell around us-these are a small part of the excel. original, but to our ear extremely comical choruses,

which the choral duty was discharged by those lencies of this great master, by which he completely and, to strengthen the effect of the cantilena, accom

believers in such music as a part of their religion ; overcame the immense favorite, Piccini, and laid panied almost all the melodies with the necessary the foundation of an entirely new operatic style, in brass. And to what good account did he not turn

partly to the thorough manner in which their which Mozart and others recognized a glorious mod. his Parisian experience with regard to the choice of

conduktor had drilled them, considering the short el.

libretti! The Dame aux Camelias, of Dumas, and period, to sing in a strange place; and partly, Mozart's " Marriage of Figaro" did not draw a similar moral stories, afforded him the most appro

we are inclined to think, very largely, to the very numerous au lience, and the performance lacked priate stuff for his musical dramas; besides which

novel and improvell arrangement of the forces, the usual dignity and unction. The part of the he also cultivated classic ground, traaslating into

which was neither more nor less than that sugCountess was taken by Fräulein STORK, from Bruns- music Schiller’s “Robbers," " Maid of Orleans ” gested by our correspondent in these columns a wick, who, beyond the purity and correctness of her and “Cabal and Love,” as well as Shakspeare's few weeks since, and based on the hints of Bervocal method and the distinctness of her utterance, "Macbeth," " Lear,” &c. A wilder, more repulsive lioz. The instruments were placed behind the lacks the qualities for appearing on the first operatic subject than the Trovatore probably was never treat- choir; it would have been better had not this stage of Germany in this part after Mme. Köster.

ed in an opera. Poison, daggers, curses, madness Her voice is full and round, not without compass,

also placed them above the choir; but this was are the elements that lie at the foundation and find but the registers are not well connected. There was

partly remedied by bringing the singers comtheir expression frequently in long chains of trills. no trace of the fine graces which Mme. Küster wins A word about the execution. All Italian song

pactly together upon a raised platform in the from the principal arias; only in the last aria did reqnires a peculiar sort of rendering and interpreta.

middle of the stage, (the Beethoven statue meanshe find applause, and that not without opposition. tion, in which our German singers are not at all well

while had been moved back to the organ); the Frau TRIETSCI was well disposed and gave the Page versed Much is altogether lost with us, and so this

tenors and bassees stood behind the sopranos and skilfully and aptly. Herr KRAUSE counts the

opera must necessarily express less than it otherwise contraltos, who in most of the choruses remained Figaro among his best parts, and gave satisfaction, would, since it, more than those of other Italians, is seated. The effect fully justified the change, and if he did not come up to his previous achievements.

built upon such presumptions on the part of the to most listeners was surprising. Herr Salomon sang the “ Count” with a chivalric

performers. Herr KRAUSE could not succeed in The concert opened with a Fugue in G minor, ease and certainty, but frequently fell short of the giving his voice the sombre and mysterious tone for four hands, very clearly and satisfactorily requisite strength to maintain herself above the or

which his part requires. Herr FORMEs, with his played upon the organ by two young lads, Maschestra. The pearl of the evening was Mme. Her- powerful voice, had most effect in the more energetic ters HENRY and Hodges, pupils of Mr. Werner. RENBURG-TUCZEK, who in voice and action is so

passages; but the Verdi accents would be far more much at home in the part of Susanna, that to her

It was lost, however, upon the great mass of the effective if the voice would not persist always in the belongs the prize among our German singers in this

audience, who would not listen, nor allow those same degree of force, but would employ frequently

who would to hear much. An unwonted crowd opera. Especially, she sang Susanna's aria, which

and rapidly the sforzando. Moreover his vocal is so full of longing, with so much soul, so much

method is not free from un-noble elements, which ill that, for the Music Hall! composed of course very devotion, in such mystically sweet piano, that she beseem a Troubadour, and the faulty roll of the r is

largely of the Irish Catholic population, who liswas most deservedly called out. In our Kapelle very annoying. Fräulein WAGNER played admira

tened to not a little with reverence and wonder, almost every player is not only a virtuoso on his inbly, but has to sing too much in those deep tones,

but who had a singularly naive and frank way of strument, but a knower of the Mozart music. From

that have grown intolerable to our ear, to leave an showing when they were interested and when the instrumental ensemble the solo oboist stood out

agreeable impression. Mme. Köster distinguished they were weary. The concert, to be sure, was in a masterly light in his frequently interspersed little herself in the more grateful but exacting part of too long, and one could not wonder that so many solos. The conclusion of the opera would certainly Leonora; she played and sung alike admirably, and seats were vacated before the end. Then came have gained by more repose in tempo. The director

came nearest to the Italian manner of delivery. the Requiem. The choruses, as we have said, seemed to have forgotten that rapid tempi, even in Herr FRICKE's voice sounded often finely, but is not

were most of them sung quite effectively, and Presto, were formerly reckoned a monstrosity. In yet quite sure and free in the attacks. The unison many of Mozart's pieces we have proof that the choruses, so uninspiringly comical to our German ears,

admirably helped out by the orchestra. The best Presto of that time was scarcely faster than our ordi- and which but rarely make way for singing in two

parts were the solemn opening: Requiem æternam, nary Allegro. or three parts, were well executed. The opera was

with its fugue Kyrie, and the finale: Lux æterna, On the 20th Fräulein STORK sang in Tannhäuser quite well received by the very numerous public, and

to the same notes; the tremendous Dies iræ, and before only a moderately full house.... In the latter the individual artists were richly applauded and call- Rex tremendæ, the beautiful Lacrymosa, (sung

here, as it should be, as chorus and not quartet,) solemnity in the Crucificus ; and what inspiring


which interested us by a certain peculiar depth the Sanctus, and the Agnus Dei. The Confuta- life in Et resurrexit ! It was finely rendered, and strangeness of harmonic coloring, and a sometis was not badly done, but needs especially even to the elaborate and very jubilant conclu

thing dramatic in its startling responses ; an Anthem broader masses of voices to give the full contrast ding fugue : Et vitam venturi, &c. Yet the im- by Dr. Boyce : For the Lord shall comfort Zion, and

his Te Deum in A, which was sung before. These between the dark and stormy opening and the pression was weakened by its coming so late in heavenly sunshine of soprani in the last line: the evening, and by the noise of satiated people ingly impressive, and were admirably sung.

are highly elaborate, fugued compositions, exceedVoca me cum benedictis. The movements of the going out.

The oratorio selections were four from Handel, Offertorium are too difficult and too trying to the The concert as a whole must be regarded as a

English by adoption, and whom the lecturer's re. strength and the endurance of any ordinary choir. success, and we would gladly hail it as an earnest

marks made to be cqually a debtor and a benefactor The quartet of soli fared not so well. The of many more of the same kind. Our opportu- to the English music. We must think about that. voices were not at home in the hall, perhaps nities of hearing the noble compositions in the The simple, innocent and child-like aspiration of over-exerted themselves in their imagination of Mass form are entirely too few.

the air : " Brighter scenes I seek above," from “Jephits difficulties, and not trained to concert singing,

tha," was beautifully sung by Master Fred. WHITE, and the consequence was that some of the con- Boston CHORISTERS' School.-We were sur- the silvery soprano of that angelic Trio, and had to certed pieces were badly out of tune and others prised on entering the Tremont Temple Wednesday be repeated. A very noble chorus from “ Judas ineffective, especially the Recordare, which is evening, to see so small an audience at the repetition Maccabæus:" We worship God and God alone, in very difficult as well as very beautiful. We must

of Mr. Cutler's concert of English Cathedral and which this steadfast simplicity of faith is constantly

Oratorio Music. The rare pleasure experiented at kept up through the freer soarings of the fugue by a make an exception, however, in favor of the soprano, Mrs. WERNER, who began feebly on the

the first by everybody present, seemed a sure guar. pervading choral, impressed us deeply. Mr. C. R.

anty of a hall quite full the second time. It was an Adams sang the recitative and air : Total Eclipse, no first bit of solo: Te decet hymnus, &c., but the

audience, however, whose approbation was well worth sun! no moon! &c., from * Samson," with rare and beauty of whose voice, and the sincere and hearty having, and the performances gave a satisfaction touching beauty. His tenor grows continually in style of whose singing grew upon us steadily quite as general and more lively than before. Mr. power and sweetness; and in this most affecting from that moment. The others too succeeded A. W. Thayer repeated his historical and ex- song, he showed that he is acquiring a mastery of the well in parts. It would be unfair to criticize. planatory remarks, with variations and additions, fine shades of expression. It is really the most enCriticism was disarmed by the beautiful spirit in most acceptably to all. There was a partial change couraging tenor that has sprung up among us. In which all entered into the common work. There of programme.

this, and in all the Ilandelian selections, the organ was but one object, in which each coöperated as

The first piece was an ancient Choral, or plain. accompaniment was beautifully played by Mr. Cuthe best could, and that was to bring out Mozart's

song, believed to have been composed by Gregory ler. The chorus from “Samson:" Then round Requiem. The individual forgot herself or him

the Great, about the year 600. It was of course about the storry throne, fitly closed the concert. It was self in the work. It was truly refreshing, and

sung in unison, by men's voices only. The effect was delightful to observe with what ease and certainty

strange and solemn; in spite of its quaint and shape-| the boy's voices thridded the tangled maze of fugue. in contrast with most concerts, (sacred oratorios

less form, with nothing that seemed like a final ca- We trust that by these concerts a beginning has included), to see the production of a great work

dence to set the mind at rest, the effect was edifying. been made which shall lead to oft renewed and comnot made wholly dependent upon and subordi

Next was sung by boys and men, still in unison, Lu- plete public expositions of the merits of this English nate to the chances of individual display in solo ther's well known Choral: Eine feste Burg ist unser school of musie. singers. Here each solo was taken as a duty, as Gott, which has rhythmical form and balance, and a sacrifice if you please, by the person who with the figural organ accompaniment filling the Musical Intelligente. could do it best, even if there was no glory to be pauses between the lines, played in true German gained by it; and in that spirit would we see all style by Mr. CUTLER, it sounded nobly. It would

London. noble music brought before the public. We are have been instructive to the audience to have heard

ROYAL ITALIAN OPERA.-The eleventh season was sure we speak the general feeling of the audience

it repeated also in harmony, by Bach, or some good inaugurated at the Lyceum on the 14th, with Bellini's when we say, that whatever was wanting in the

The Deus misereatur, upon the third Gre- Puritani : Grisi as Elvira, Sig. Gardoni as Arthur, solo-singing was more than made up by the unc

gorian tone, illustrated the rhythmical modification Graziani as Ricardo, and the other parts by Mme. Bortion thus lent to the whole. They did their best, of the old plain-song by the English church.

garo, Signors Tagliafico, Soldi and Polonini. Costa,

The great Elizabethan period of English church as conductor, was loudly welcomed. The Times says: heartily and humbly, and thereby did themselves composers, the age of Tallis, Tye, Morley, Farrant,

It is not possible to witness Grisi's Elvira, even at much credit.

&c., was exemplified by a single specimen, the the present time, without a certain emotion. For The second part of the concert commenced Anthem: “Lord for thy tender mercies' sake,” by

example, the mezza voce, (of which Grisi was always with a very long, elaborate, and splendid Gloria,

an accomplished mistress), in the theme of the polacFarrant. This was finely sung, with perfect truth ca, (“Son vergin"), which more than compensated from Hummel's Mass, No. 2, in E flat. A por- and balance of parts, by boys and men, without or

for a certain timidity accompanying the execution of

the florid variation of the coda; the sotto voce with tion of this was confused and discordant, but for gan. It is a clear, round, solid, English sounding which the opening of the mad scena, ("Qui la voce") the most part it was effectively sung. A duet for composition, full of robust health and free from was delivered; the dramatic ebullition of passion that tenor and soprano, Panem de Cælo, by Terziani, affectation. The anthem of a later period, by the

gave life and reality to Elvira's appeal to Giorgio :

"O toglietemi la vita, a piece of smooth, flowing, rather operatic meloolder Webbe, seemed a more elaborate development

O rendetemi il mio amor!” dy, was very sweetly sung. The Sanctus and

of the same style, and was highly applauded. This the genuine feeling and rich quality of the middle was followed by an account of the suppression of the

tones of the voice in the well known • Vien, diletto Benedictus, from Haydn's Imperial Mass, (No. 3,

--these and other excellencies deserve to be chroniif we remember rightly), sounded truly imposing.

church music by the Puritans, with a touching picture cled as proofs that if Grisi is not the Elvira so many of the manner in which it was here and there cher

of us can remember, she is still, viewing the part hisThe soprano solo in the Benedictus has a strong

trionically and vocally as a whole, without a compeished in secret, apropos of which the 74th Psalm, to

tent successor. The audience received their old fafamily likeness with something in the “Crea

a wild minor Anglican chant was sung, autiphonally, vorite last night with their accustomed warmth; she ion.” A very quaint and singular piece of har- with a saddeniug effect, although, like most chanting,

was twice recalled, and continually applauded, just as

if she had never taken leave of the public in 1854. mony is the: Adjutor et susceptor meus, by Che- it was a perpetual repetition of one short harmonic

As Signor Gardoni and Signo Graziani were both rubini; a piece which, like everything by that phrase and cadence.

afflicted, more or less, with hoarseness, we need not

criticize their performances. In the case of the latter great master, we would gladly hear more than By way of variety before proceeding to the music

this contretemps necessitated the omission of the obonce. Mrs. Werner sang with much expression, of the second English school, after the Restoration, streperous duet, “Suoni la tromba," between Giorgio and great flexibility and florid execution, a very the Trio from Elijah: " Lift thine eyes, was again

(Signor Tagliafico) and Ricardo, of which Rossini,

when writing to a friend at Bologna an account of the operatic solo by Lambillote: Quam dilecta taber- sung by three boys, without accompaniment. The

production of I Puritani in Paris, said: “The duet nacula tua. The Credo, from the first of Beeteffect was indescribably beautiful; their voices were

for the basses I need not deseribe-you must have

heard it.” On the whole, however, in spite of many hoven's two masses, the one in C, is a magnificent singularly pure and fresh and innocent, well contrast

drawbacks, the opera, as we have hinted, was well composition, in all points a most eloquent setting

ed and well blended, and the silvery clearness and perpormed.

sweetness of the first soprano sounded almost an. of the text, and worthy to close a concert com

HER MAJESTY'S THEATRE was opened the same gelic. We never heard the Trio sung so perfectly ; | night. We copy from the Times again: mencing with the Requiem. How gloriously it received an unanimous encore. How fine would buoyant the expression of the orchestral figure

The aspect the house last night presented, when the be the effect of this Trio só sung when "Elijah” is doors were opened for the season of 1857, gave eviwhich accompanies the first sentence! how startperformed at the forth-coming Festival !

dence of continued prosperity. ling the announcement: Deum de Deo ; Lumen

Respecting the new tenor, Signor Giuglini, who Of the second English school were sung the

made his first appearance last night in La Farorita, de Lumine, &c. What profound pathos and Nicene Creed from a service by Dr. Benjamin Rog- the greatest curiosity prevailed. The very first aria


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