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Great Exhibition of Art Treasures at
Manchester, England.

(Correspondence of the London Times, April 14.)

The collection of ancient pictures, which is very large and valuable, will be exhibited in the south gallery. It has been placed under the charge of Mr. Scharf, jun., who has adopted a somewhat novel plan in its arrangement. He has proceeded upon the broad principle of devoting one entire wall to the works of the Italian and Spanish masters, and the other to the productions of Germany, Flanders, England, and all countries foreign to Spain and Italy. But that is not all. The pictures on both sides of the gallery are arranged in chronological order, so that the works of each master of Italy or Spain are placed opposite those of a painter belonging to some other country who lived in the same period. Angelico da Fiesole, for example, is opposed to John Van Eyck, Rubens to Guido, and Vandyke to Velasquez. The lesser divisions of schools, which are those of Tuscany, Sienna, Naples, Umbria, Cologne, Flanders, Saxony, and Nuremberg are marked by being kept in distinct groups, and arranged for the most part in parallel lines one over the other. With a few exceptions, which will presently be specified, the pictures exhibited are those of masters who flourished between the years 1400 and 1700, a period of three centuries. The latest painting in the gallery almost corresponds in point of date with the commencement of the modern English school, and consequently no place is given here to the productions of Hudson, Hogarth, Thornhill, Richardson, or any of the English masters who lived at the beginning of the 18th century.

The gallery is divided into three main halls, the first, next the transept, being devoted to the earlier period of Art. The centre of the end wall is occupied by a picture which created some sensation in the Royal Academy two years ago, and which is now the property of the Queen. It is the work of Leighton, and represents the triumphal procession in which Cimabue's picture of the Madonna was carried through the streets of Florence. On either side of it are displayed specimens of Italian art, from the classic fresco paintings of the Baths of Titus and the Catacombs down through the feeble attempts of Cimabue and the bold and inventive pieces of Giotto to the productions of the 14th century and the dawn of Art in Germany and Flanders. Mr. Scharf commences his series of German, Flemish, and English pictures with the works of Van Eyck, which are followed by many fine specimens of Grunewald, Mabuse, Matsys, Rubens, Vandyke, Holbein, Rembrandt, and other well-known masters, closing at the end of the third or last hall with paintings belonging to the latter part of the 17th century. The contributions of Prince Albert to this branch of the exhibition are very extensive and important, for his Royal Highness possesses an almost unbroken series of examples of early German art. The illustrations of Italian and Spanish art commence with the works of Angelico da Fiesole, and include a great number of pieces by Botticelli, Perugino, Raphael, Michael Angelo, Titian, Paul Veronese, Velasquez, Murillo, and other eminent masters, ending, like the pictures on the opposite side, with the year 1700. The magnificent equestrian portrait of Charles I., from Windsor Castle, by Vandyke, occupies a position at the bottom of the gallery corresponding to that of Leighton's picture at the top.

It would be impossible to convey any adequate idea of the great value and beauty of the Italian and Spanish collection. Such a display of masterpieces has probably never before been witnessed in England, and it convincingly proves the statement of Dr. Waagen that we possess art treasures far surpassing those of any other country. The series begins with a head of Christ by Angelico da Fiesole, which originally formed part of a fresco representing the crucifixion. Fiesole is represented by another picture-the "Entombment of the Virgin"-which was formerly called a Giotto, and as such was engraved by D'Agincourt. His works are followed by specimens of

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Sandro Botticelli, with his wildness of form and pedantic display of Greek learning. Perugino, the master of Raphael, is present in five predella pictures, contributed by Mr. Barker, and in a superb altar piece-the Virgin and Child enthroned, with St. Jerome and St. Peter on either side-exhibited by Lord Northwick. One of the earliest specimens of Raphael is the "Crucifixion," taken from Citta di Castello, painted in 1500. Mr. Fuller Maithland contributes the "Agony in the Garden," mentioned by Vasari in his Lives of Painters. Two celebrated Madonnas are furnished by Lord Cowper; Miss Burdett Coutts exhibits the Madonna and Child," which was formerly in the collection of Mr. Samuel Rogers, together with another picture, representing the Agony in the Garden;" and Lord Warwick sends a duplicate of the "Joanna of Aragon" in the Louvre. Near the works of Raphael is placed "Holy Family"-Il Reposa-by Bartolomeo, the finest specimen of that master in England. Of Michael Angelo we have the picture representing "Christ and the Woman of Samaria," which was formerly in the collection of Ottley, and a "Holy Family," unfinished, belonging to Mr. Labouchere. Michael Angelo is followed by specimens of the early Venetian school, represented by Andrea Bellini and others, and by the works of Francia, the friend and correspondent of Raphael. Further on the glories of Venice present themselves to view, Titian, Tintoretto, Paul Veronese, and their contemporaries. The Europa" of Titian has been exhibited by Lord Darnley, and here also is his original sketch of the celebrated "Gloria," or apotheosis of Charles V., still in Spain. The "Nine Muses," by Tintoretto, has been lent from Hampton Court, and there are no fewer than five large allegorical subjects by Paul Veronese. The Bolognese school is represented by Caracci and others. A splendid "St. Agnes," by Domenichino, has been obtained from Windsor Castle. Velasquez and the Spanish masters are also well represented. The portraits of Velasquez are hung exactly opposite those by Vandyke, so that the productions of the two great masters of portrait painting may be studied together, an advantage for which the visitors ought to be thankful to Mr. Scharf. The Duke of Bedford, Mr. Farrer, and Mr. Hoskins have contributed some fine specimens of Velasquez. Several magnificent Murillos have been furnished by Sir Culling Eardley, the Rev. Thomas Stanniforth, and Mr. William Sterling. Among the specimens of the academic and decorative style of painting may be mentioned some frescos taken from a palace at Milan. They represent the contest between the Centaurs and the Lapithæ, were painted by Gambara, and have been contributed to the exhibition by Prince Albert. Below Murillo are some of the later masters-the naturalists, as they are called-of Italy; and the series closes with some vigorous pieces by Salvator Rosa.

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The collection of pictures belonging to Germany, Flanders, England, and other countries foreign to Italy and Spain is very extensive, and embraces some splendid specimens of art. It begins with an old copy of a famous altar-piece, representing the "Adoration of the Lamb," by Hubert and John Van Eyck, formerly in the chapel of the town-hall at Ghent. The curious Orford picture, by Grunewald, now the property of Prince Albert, is a striking feature in the collection; but, admirable as it is, it must yield the palm to the celebrated Mabuse, representing the "Adoration of the Kings," from Castle Howard-a picture formidable to the pre-Raphaelites on account of its exquisite finish and its selection of the more refined objects in nature. Flanking the Mabuse are two fine pictures from Hampton Court, representing James IV. of Scotland and his Queen. Lower down the gallery is the "Misers," by Quentin Matsys. Rubens is represented by several of his most splendid proThe Queen has contributed his St. Martin dividing his cloak with a Beggar;" and Mr. Mathew Wyatt exhibits the magnificent picture of "Juno setting the Eyes of Argus in a Peacock's Tail." Here also is Tomyris ordering the head of Cyrus to be bathed in human blood,

ductions.

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and

a number of other pictures are among portraits of himself, his wife, and the Bishop of Antwerp. Several excellent specimens of Snyders have been contributed by the Duke of Newcastle, the Earl of Derby, and Sir Philip Egerton. They consist for the most part of marketpieces with fish, fruit, and flowers, but there are also one or two boar and wolf hunts. Of Poussin there are some admirable specimens from the galleries of the Earl of Carlisle, the Earl of Yarborough, and Mr. Mox. In addition to the " Triumph of Bacchus" and a "Holy Family" there is a small repetition recently found in Dorsetshire of a picture called the "Testament of Eudamidas," by Poussin, which, after being engraved with great care in France, was brought to England and lost. The Vandykes form, in number and value, an important part of the collection, One of his finest portraits is that of Snyders, the painter, contributed by the Earl of Carlisle. The companion portrait-that of Snyder's wife—is exhibited by Lord Warwick. It is said that the grandfather of the present Lord Warwick proposed to the then Earl of Carlisle that they should toss for the possession of the two pictures. Whether the latter nobleman was willing to entertain the proposition is not related, but it was never carried out, and "Snyders and his wife" were doomed to remain separate for some time longer. They are now reunited for a time at Manchester. Her Majesty has contributed several Vandykes-among others the splendid equestrian portrait of Charles I., already noticed. The "Children of Charles I." have likewise been obtained from the Long Room in Windsor Castle. Lord de Gray is also an important contributor of Vandykes. One, a superb picture, represents three children (name unknown) standing on the steps of a portico; painted by Vandyke in the style of his Genoese period. The "St. Jerome," with the angel holding a pen-L'Ange à la plume, as it is called in France-from the collection of Lucien Buonaparte, has been contributed by Mr. Lucy, of Charlcote-park. The works of Vandyke are followed by those of Sir Anthony More and other foreign artists who visited England in the 17th century. We then come to specimens of the Dutch school, in which the collection is particularly rich. George IV. was a great admirer of Dutch artists, and made a large collection of their works, of which a considerable number have been contributed to the exhibition by the Queen. Mr. Thomas Baring, Mr. Henry Hope, and Miss Berdel have furnished numerous specimens of Rembrandt, Vanderveldt, De Koning, Jan Steen, Teniers, and other Dutch masters. One of the most striking pictures at the close of the series is a portrait of Peter the Great, by Sir Godfrey Kneller.

Such are a few of the more prominent pictures in the ancient gallery. Many most interesting specimens have necessarily been omitted. We have not mentioned, for example, a fragment of a curious fresco representing the "Fall of the Angels," by Spinello Aretino. It belongs to Mr. Layard, who rescued it from destruction some time ago in Italy. Vasari relates that the devil was painted so hideously ugly that he appeared to Aretino in his sleep and demanded the reason of such uncivil treatment. The answer of Aretino is not recorded, but the story runs that the interview made such an impression upon his mind that he fell into a melancholy which lasted the rest of his life. Perhaps it is improper to add that the provoking researches of modern critics-Lord Lindsay and others--have proved that Aretino lived far beyond the period stated by Vasari, and that he painted some of his best works after his alleged colloquy with the Prince of Darkness. The figure of his Majesty, unfortunately, is not in the fragment contributed by Mr. Layard to the

exhibition.

One of the objects aimed at by Mr. Scharf in the formation of the gallery has been to reunite, as far as possible, the scattered fragments of the Orleans, the Solly, and the Rogers collections. He has succeeded in doing so to a great extent, and the visitor will have an opportunity of viewing, re-collected in these galleries, collections which are renowned throughout the world.

From my Diary, No. 2.

MAY 9.-I am told that Mr. Zerrahn has secured an orchestra of seventy-five members for the Festival. Excellent. But as yet no intimation has been given to the public, that I have noticed, of the character of the programmes which they are to execute at the miscellaneous concerts. Now, in consideration of the hope that a large portion of the concert audiences, will consist of people from the country of musical tastes, but who have never had opportunity to hear grand instrumental performances, can any. thing be more attractive than the performance of some of the best symphonies, of which they have read and heard so much? Doubtless this is intended. Nor can there be any doubt that some of the best overtures, not only by Beethoven, Mozart and Weber, but of Auber and Rossini, will be given.

But I wish to ask something more; and as the Handel and Haydn Society has the honor of the conception and the responsibility of the execution of the affair, the appeal can be made with special propriety to it. It has been shown in the Journal of Music recently, that when the Society was young, it pursued a bold policy, such that members of it ventured to send an order to Vienna, to the greatest of then living composers, for an Oratorio, though his works seem to have been known in Boston only from portions of his Cantata; "Christ on the Mount of Olives." The old programmes show that it had no fear of producing music of composers unknown to the public, and more than that, of music produced at home. Shaw's compositions were stereotyped features of its early concerts, and John Bray's "Child of Mortality," text by Mrs. Rawson, the actress, and afterward famous school teacher, was another great attraction.

What I would ask then, is that the same policy be now followed up, and that at the orchestral concerts specimens, each evening, be given of what our men, who are working for fame-pecuniary profit is out of the question are doing in this department of composition.

If I subscribe to a series of concerts where "classical" music-that is, music whose reputation is fixed-is promised me, I consider myself cheated, if instead of Beethoven, Haydn or Mozart, the works of Balfe, Wallace, Verdi, &c., are placed upon the programme, or if waltzes, polkas and quadrilles drive out symphony and overture. But if I do not subscribe, and am free to take a ticket or not, the case is very different. I can stay away without losing my money or temper, there having been no promise made or implied.

The concerts at the Festival, save the oratorios, come into this latter category, and there is no implied contract, as to the music to be performed, between the managers and the audience. Here is a legitimate opportunity then to give us some specimens of our own music.

How many composers of orchestral music we have in our midst I know not. I only know of Southard; but ever since I read the notices of the production of two overtures by him, at a time when I was absent from Boston, I have had a great desire to hear them. But would the public care to hear them? Not easy to decide, that. But what piece could he put upon the programme which would be more likely to interest an audience than his overture to the" Scarlet Letter?" Who does not know the wondrous romance of Hawthorne? Who has not felt its mystery, its awful power; who has not shuddered at the manner in which the human soul is dissected alive, as it were, every nerve quivering? Who that knows aught of orchestral music, but would gladly have an opportunity to see whether the musician has caught the spirit of the work, and interpreted it in the language of the orchestra? What a field there for the composer! Let us see how he has occupied it.

Again, why not bring out something which, while perfectly novel, could not fail to be of great interest both to the musician and the general public? Why not give the large audiences, which will undoubtedly be present, the chance to judge of what boys are capable? Could there be any objection to allowing the Choristers' School to sing a piece or two, written originally for choirs of boys and men? There is music enough at hand, both sacred and secular, from Allegri's "Miserere," or "Summer is a comin' in," which Hawkins says "is the most ancient Eng. lish song with the musical notes attached, perhaps anywhere extant," down to the pieces written by Mendelssohn and others for similiar choirs, in London, Berlin or Leipzig.

The Handel and Haydn Society, originally organized, as I believe its constitution says, to improve the public taste in music, and forward the art in general among us, has here opportunity of adding materially to the number of its good works in the cause.

Musical Correspondence.

NEW YORK, MAY 9.-Mr EISFELD gave us a rich programme at his last soirée, as far, at least, as the instrumental portion was concerned. It contained Mozart's beautiful Quartet, in E flat; the first of the two op. 70 Trios of Beethoven; and four movements from the great master's Septuor. The Quartet of Mozart is one of his very best, with all his characteristic grace, freshness, and full of beauty and soul. The first two movements were very indifferently played, I regret to say. The night was warm, and the strings of the first violin particularly, were very unruly. But later this deficiency was mended, and in the rendering of the Septuor, (minus the minuet and variations), there was nothing to be wished for. Mr. PYCHOWSKI played the pianopart of the Trio very finely indeed. He is unquestionably one of our first and truest artists. The singer of the evening was Miss HENRIETTA BEH

REND.

She has improved vastly since last winter, when I heard her at one of Mason and Bergmann's concerts; but she seemed on this occasion to be suffering from a cold, or some other indisposition, as it appeared to be quite an effort for her to sing. Altogether, however, the whole concert was a very pleasing one, and gave general satisfaction to the very good audience assembled.

The Mendelssohn Union, at their third concert, last Thursday, sang Mozart's Requiem, and a Magnificat, by Mr. BERGE, their pianist. I regretted very much that an unavoidable engagement prevented my attending, as I wished very much to hear the Requiem once more, particularly after the interesting articles upon it which have lately appeared in your paper.

I met recently with an interesting little book, which has made so great a sensation in Germany that the first edition was very quickly exhausted. It is entitled: "Beethoven's Piano-Forte Sonatas, an alyzed for friends of music, by Ernst V. Eltertein," who also calls himself the author of "Beethoven's Symphonies considered according to their ideal value" There are many very good and new ideas in the book, and I should think that, if translated, it might be very useful towards rendering the mas terpieces of which it treats, more appreciated and better understood by our public.

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SPRINGFIELD, MASS, MAY 12.-Our Spring season has been well filled with concerts. THALBERG, OLE BULL and others, have sung and gone. Last Sunday evening we had the first Sunday concert in Springfield. It was given by Mr. MOZART, of Boston, with the assistance of Messrs. FITZHUGH and KIMBERLY, of this city. The concert was excellent, and the music of a high order. Mrs. MOZART sang her solos with great skill and expression. Miss

TWICHELL in "He was despised," from the "Messiah," did herself great credit. We admire her voice the more we listen to it. Some eighteen hundred persons were present, as the concert was a free one.

A new concert troupe is now occupying the attention of our curious people. A band of negroes, owned by a planter in Alabama, showed some talent for music; their master gave them an instructor; they excelled so much, (so the story goes), that he gave them permission to concertize about the country, and thus buy their freedom. He then secured the services of Mr. J. G. Shaw, of this city, to take charge of them, and they now are singing nightly to full houses about the States. Last week they sang in the City Hall, in this place. As musicians, the slaves are lacking. Their ears are imperfect; yet for ignorant persons they do remarkably well.

The "Springfield Musical Institute " has adjourned rehearsals till October next.

Another association has been organized among the armorers at the U. S. Arsenal, under the name of the "Armorer's Musical Institute." It has an orchestra of sixteen pieces, and a chorus of some seventy. The enterprise was started and brought into successful operation by Mr. ALBERT ALLIN, Mr. GEORGE HUBBARD and others, and bids fair to become a permanent institution among the armorers. They propose giving a concert early in the Fall.

Mrs. FANNY KEMBLE gave a reading of Shakspeare's "Twelfth Night," last evening, in Hampden Hall, to a large and highly appreciative audience. Her reading, like Thalberg's playing, is as near perfection as can be conceived.

AD LIBITUM.

Dwight's Journal of Music.

BOSTON, MAY 16, 1857.

NOTICE.-A FESTIVAL PAPER. The next number of DWIGHT'S JOURNAL OF MUSIC will be issued two days in advance, viz., on Thursday, immediately after the first morning concert of the Festival. This special edition will be increased in size by at least four pages, and will probably contain MR. WINTHROP's Inaugural Address, entire, from copy kindly furnished by the author, together with descriptive analyses of the three Oratorios to be performed, brief notices of the instrumental music, some history of Musical Festivals, and such other matter of special interest during that week as shall make it properly a FESTIVAL NUMBER of the Journal.

For sale at the Music Hall on Thursday afternoon, and at the periodical stores, &c. Price Five

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realization of their sublime effects, the whole
thing grew. Oratorios, in England and in Ger-
many, ever since the great Handel Commemora-
tion in Westminster Abbey, in 1784, have formed
the back-bone of such entertainments. But of
course they offer motive opportunity and at
the same time, for mixed performances of or-
chestral and vocal music. The gathering of
artists and great audiences, and all the excite-
ment kindled up by such an occasion, cannot but
give an impulse to the love of noble music and
to the high religious, social and artistic sentiments
to which it speaks.

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"Coriolanus" (!), the Allegretto to his 8th Sym-
phony, and the Tannhaüser and “Tell" over-
tures. Friday afternoon: Beethoven's C minor
Symphony, the overture to Euryanthe, March
from Lohengrin, &c. &c. Besides solos, vocal and
instrumental, each time.

The choir will number about 600 voices, and
the orchestra some 80 instruments. For the ac-
commodation of this great body the stage will be
brought forward, and seats run up into the side
galleries, presenting the choir in an amphitheatri-
cal form. The sight thereof, with the statue of
Beethoven above and behind all, will be truly
imposing; but sight and sound!—of that hereafter.

As to the solo singers, negotiations still pending
with one or two famous artists, make it impossi-
ble to announce the list definitively at present.
Among those, who will surely take part more or
less in all the oratorios, we may mention: So-

In England, where such Festivals originated,
(the annual meetings of the three choirs of Wor-
cester, Gloucester and Hereford date back to
1724, and that of St. Paul's for the benefit of the
sons of the clergy, to 1712, two years before
Handel went to England-but then there were
no oratorios), they have always been for charita-prani, Mrs. ELLIOT (ANNA STONE), of New
ble objects. Handel's inspirations have been
there the bond of union between music and char-
ity. Here, with us, it is first necessary to see if
music can sustain itself; here it will be public
blessing and charity enough if, by a festival, we
can put great performances of music upon a safe
and self-supporting footing, and enable our socie-
ties of amateurs and artists to practice it and
keep themselves in a condition to supply us. with
it.

Of course we are not yet in a state to do any-
thing that can bear comparison musically with
what is done in England. But we can make a
good beginning. Our Handel and Haydn Soci-
ety, who take the initiative, are pretty much the
only permanent nucleus we have for such an en-
terprise; whereas in England, choirs and orches-
tras, in constant practice, are ready at a moment's
call, and all the greatest solo artists of the world
are within easy reach-through the electric tele-
graph of a long purse. The whole business of
Festivals is there organized into a system; their
preparations are begun at least a year before-
hand. Here the time is short; it was necessary,
to avail ourselves of so good a season as the
annual May Anniversaries, to press matters some-
what, and do the best that could be done in a
short time. We apprehend our friends, not only
from the country, but at home, will be surprised
to find what good things can be done. The man-
agers will make no rash adventure; they have
wisely chosen for this first festival the most fa-
miliar, sterling oratorios, which most of our sing-
ers know by heart, the incomparable "Messiah'
of Handel, and the "Creation;" to which add
"Elijah," which will have the charm of novelty
to many.

For the miscellaneous concerts of Thursday
and Friday afternoons, and Saturday morning,
the programmes are not yet fully determined;
but we can name the orchestral pieces. The
"Choral Symphony," as we had presentiment,
has to be abandoned, because all our solo singers
shrink from it. But, no mean substitute has been
provided for Saturday morning in Beethoven's
glorious No. 7, which like all the pieces, will be
played by an orchestra really outnumbering
the seventy-five instruments announced. Other
features of that same morning will be Beethoven's
Leonora overture (No. 3), Mendelssohn's Hebri-
den or "Fingal's Cave" overture, and the Scherzo
from his "Scotch" Symphony. In Thursday's
concert we are to have Beethoven's overture to

York, Mrs. LONG, Mrs. MOZART and Mrs. HILL;
Alti, Miss ADELAIDE Phillipps, (in the “Mes-
siah" and "Elijah,”) and Miss J. TWICHEll;
Tenors, Mr. SIMPSON, of New York, and Mr. C.
R. ADAMS; Basses, Mr. LEACH and Dr. GUIL-
METTE, of New York, (the latter is said to be
very fine in the part of Elijah.) The Double
Quartet in Elijah will be sung by the "Mozart"
and the "Ball" Quartets; and the Angel Trio by
the three boys of Mr. Cutler's Cathedral choir.

On Thursday we shall have more to tell. The
gathering will undoubtedly be great, and our
friends should lose no time in going to the music
store of Messrs. Russell & Richardson, and select-
ing their seats for the three days.

The Pianists Classified.

There is a German newspaper published in
New York, called the New Yorker Criminal
Zeitung, which we take to be a sort of "Police
Gazette," or journal of the courts, the prisons
and the scenes of crime. It appears that it is
also not without its corner for Art criticisms; and
this congenial organ has some rare musical ad-
venturer chosen for the following article, signed
"Dr. A. Bernt," under the title: "Brief Cata-
logue of the greatest living Pianists and Compo-
sers for the Piano-Forte, with notices of their
special qualification." The Musical Review
translates it, mentioning at the same time the
rumor that the signature, as given above, is a
nom de plume, and that the author's actual name
may easily be divined from the article itself:

A. Stars of the First Magnitude: Franz Liszt, born
in Hungary; GUSTAV SATTER, born in Vienna;
Henry Litolff, of Mecklenburg; Sigismund Thalberg,
of Geneva; Alfred Jaell, of Trieste; Leopold de
Meyer, of Vienna.

B. Stars of the Second Magnitude: Clara Schu-
mann, Caroline Pleyel, Anton Rubinstein, Alexander
Dreyshock, Adolph Henselt. Carl Meyer.

C. Stars of the Third Magnitude: L. M. Gottschalk,
William Mason, Julius Schulhoff, Richard Hoffman,
Hans von Bulow, Maurice Strakosch. (Hans von
Bulow and Maurice Strakosch!)
Geniality in Playing: 1, Liszt; 2, SATTER; 3,
Litolff.

Conception: 1, Liszt; 2, SATTER; 3, Clara Schu-

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First in every thing: (!) 1, Liszt; 2, SATTER.

Of the Old School: 1, Thalberg; 2, Jaell; 3, Schul-
hoff; 4, Pleyel; 5, Strakosch; 6, Mason, (although a
pupil of Liszt's.)

Of the New School: 1, Liszt, 2, Litolff; 3, De
Meyer; 4, Henselt; 5, Clara Schumann; 6, Rubin-
stein; 7, Bulow.

Of the Newest School: (!) GUSTAV SATTER.
COMPOSERS.

1. Original: Liszt, De Meyer, Thalberg, SATTER,
halk, Henselt.

Equally happy in Modern and Classical Music:
SATTER, Litolff.

3. Of the Broad, Grand Style: SATTER, Liszt.
4. Of the Small Style: Gottschalk, Mason.
5. Of Spirit and carrying out, (Durchführung):
Liszt, SATTER, Henselt, De Meyer.

6. Of Sweetness: Henselt, Thalberg, and some-
times Mason.

7. Difficulty in Technicals: Liszt, SATTER, Hen-
selt, Dreyschock, Thalberg, De Meyer, Litolff.
8. Difficulty in Conception: Liszt, SATTER.
9. Founders of Schools: Liszt, SATTER, (!) Thal-
berg.

THE THREE GREATEST PLAYERS IN THE WORLD:
1. Franz Liszt, in every respect.

2. GUSTAV SATTER, in every respect.
3. Sigismund Thalberg, in his own style.

This criminal classification is delightfully au-
dacious and in some points laughably ingenious.
What a sly thrust that contrast, for example, be-
tween composers of the "broad, grand," and the
"small style!" The list is most remarkable for
its omissions; to say nothing of some pianists and
composers in this country, of no mean reputation,
where are the names of Sterndale Bennett,
Charles Halle, Wilhelmina Clauss, (now Mme.
Szavady), Arabella Goddard, Willmers, Prudent,
Stephen Heller, Herz, &c.? All such may per-
haps thank their stars, of whatsoever magnitude,
that they do not shine in the criminal firmament.

to us.

OLE BULL'S CONCERTS.-A very large and very
enthusiastic audience were attracted to the Tremont
Temple last Saturday evening, by the announcement
of a farewell concert by the Norwegian master of
that most sympathetic and eloquent of instruments,
the violin. Indeed there was something like a
rekindling of the old interest and excitement which
attended his first visit to this country, when we had
heard no other great violinist and when the now very
common phenomena of dazzling virtuosity were new
With Ole Bull it was always in a great degree
a personal charm; the look and air of genius, a
certain taking eccentricity, the magnetism of the man,
his remarkable sympathy with his instrument, and
the free, fantastic, quasi extempore structure of his
music, full of singular conceits, effects and variations,
which were astonishing then, but which we have since
found to be in great measure the common property
and trick of solo-players. It was pleasant to find the
fascination of the man not gone; indeed the very
sight of him enlisted a new yet saddened interest;
his manly form bent by the weight of trouble, his
head grown grey with care and trial rather than age,
his face pale and serious, yet the same fire beaming
from his great eyes. He was evidently inspired by
the warmth of his reception.

He played much better (especially in better tune)
than when we heard him last, a few years ago. His
tone, through the whole compass, is surpassingly rich
and beautiful; indeed we find about the chief charm
of his playing in the pure beauty of the tone as tone.
And although he plays you nothing new, although he
always brings you the same concert pieces, and all
his arts and figures are as stereotyped as those of
others, yet there is no denying a certain fervor in his
giving voice to them, a certain close sympathy of his
own heart strings with the strings of his instrument,
peculiarly his own. Of his technical excellencies the
most remarkable are, as heretofore, his perfect
staccato runs, the purity of his harmonics, the fine
connection and shading of the tones, and above all,
an art which he possesses in the most eminent degree,
that of playing quartet passages in harmony, with
distinct individualizing of the parts, the middle parts
often moving. This was exemplified in the intro-

duction to his "Mother's Prayer," the best of the
pieces which he reproduced to us that evening. For
the rest his selections were hacknied and common-
place; it is for ich smaller men than Ole Bull to
write and keep re eating variations upon the "Car-
nival," upon "Yankee Doodle" and "Pop goes the
Weasel," or even upon Bellini's "Romeo" As
musical composition, whether in the technical, or the
poetic and creative sense, all this must pass for
naught, for child's play. But what a pleasure it
would be to hear such talent of expression, as this
that dwells in Ole Bull, exhibiting itself in glowing
interpretations of noble works, like the violin Con-
certos of Beethoven, Mozart and Mendelssohn! or,
best of all, to hear a Beethoven Quartet, with him
for leading violin!

As to the other attractions of the concert, Mr.
DRESSLER is a pianist of fair routine ability; Mr.
GEORGE HARRISON has a delicate tenor, and sings
an English ballad agreeably; and Mr. HORNCASTLE'S
comic extravaganzas, a la Hatton, (only in costume,
and not playing his own accompaniments, which was
the charm of Hatton), might be called either amu-
sing, or ludicrous, as one's mood inclined him.

To-night OLE BULL takes his last leave of Bos-
ton, in a concert at the Music Hall, when his own
selection of pieces will be much better, including his
Polacca guerriera, the variations on Nel cor piu, his
Pastoral Concerto, &c., &c.

The Festival crowds all else out this week.

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The following Letter, with the names of the Committee, is
submitted to the Musical Public:

To MISS LOUISA PYNE, New York.
Madam: The undersigned, learning that you are to sail from
this port for England on the 20th inst., ask for ourselves, and
in behalf of your many friends in this city, that you will give
a Farewell Concert at the Music Hall, on Monday Evening, the
18th inst. We will appoint a Committee of Arrangements for
the Concert, and have everything in readiness on your arrival
here, which we understand will be on Monday morning next.
Boston, 11th of May, 1857.

To this letter Miss Louisa Pyne has returned an answer of
acceptance, couched in the most grateful and amiable terms.
The following are the names of the Acting Committee:

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Grand Musical Festival,

AT THE MUSIC HALL IN BOSTON,
On the 21st, 22d and 23d of May,

BY

THE HANDEL AND HAYDN SOCIETY,
WITH A CHORUS OF SIX HUNDRED, AND
AN ORCHESTRA OF SEVENTY-FIVE.

The Festival will commence on the morning of the 21st,
(Thursday,) at 10 o'clock, with an Address appro-
priate to the occasion, by the

HON. ROBERT C. WINTHROP,

to be followed immediately by the

Oratorio of the "CREATION," by HAYDN.
In the Afternoon there will be a GRAND MISCELLANEOUS
AND ORCHESTRAL CONCERT, by the Full Orchestra
of more than Seventy-Five performers, varied with Selections
of Vocal Music, commencing at 3 o'clock.

Friday Morning, 22d, at 10%1⁄2 o'clock, the
“ELIJAH," by MENDELSSOHN,

and at 3 o'clock, P. M., a MISCELLANEOUS CONCERT,
similar to the one of the day preceding.

On Saturday Morning, 23d, at 10% o'clock,
A GRAND MISCELLANEOUS & ORCHESTRAL CONCERT,
And on Saturday Evening, at 71⁄21⁄2 o'clock,
HANDEL'S "MESSIAH,"

with which the Festival will close

Tickets for the Course, with reserved seats, at Five
Dollars each, are now ready, at Messrs. Russell & Richard-
son's, No. 291 Washington Street.
L. B. BARNES, SEC'Y.

ORGAN-HARMONIUMS,
ORGAN-MELODEONS,

-AND-

MODEL MELODEONS,

MADE BY

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The Storm-King: A Cantata, by B. F. Baker,.....25
The Sabbath School: A Collection of Tunes, &c.,..25
......4 00

MASON & HAMLIN, Moore's Encyclopedia of Music,

BOSTON, MASS.

These instruments have been awarded the HIGHEST PREMIUM
in every Fair at which they have been exhibited, having been
in competition with instruments from all of the principal man-
ufacturers in this country. During the months of September,
October and November, 1856, we were awarded no less than

TEN FIRST PREMIUMS,

consisting of Gold and Silver Medals and Plomas. Our in-
struments are also recommended to be superior to all others
by the most eminent musicians, organists and pianists in the
country, among whom are the following:

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Bach's 48 Preludes and Fugues, in two vols.,....5 00
Kreutzer's 40 Studies for the Violin,....

.1 50

SIGISMUND THALBERG,

Lowell Mason,

William Mason,

G. W. Morgan,
John H. Willcox,

S. A. Bancroft,
W. R. Babcock,

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SACRED MUSIC,

PUBLISHED BY

OLIVER DITSON & CO.

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..from $60 to $150
.200
..850
.....400

Oratorio of Engedi, by Beethoven,.

.1 00

Sacred Chorus Book, edited by White and Gould, 1 50
Guignard's (A.) Mass, for four voices, ..........1 00
Zimmer's (M. T.) Mass, for Soprano, Tenor and

Bass,

2.00

English words, S

1 00

Mozart's Twelfth Mass,

...do.

1 00

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The Stabat Mater, by Rossini,...... ..do.
The Stabat Mater, by Fry,....

1 00

..do.

4.00

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Novello's Glee-Hive.

A Collection of Popular GLEES and MADRIGALS, in Vocal Score, with ad. lib. Accompaniment for Piano-forte. Complete in 3 vols. Handsomely bound in cloth, gilt lettering. Price $2 each volume.

These volumes contain eighty-three of the best Glees and Madrigals by standard ancient and modern English composers. Among them will be found some of the finest Glees of Attwood, Calcott, the Earl of Mornington, Spofforth, Stevens, Webbe, &c. Each Glee and Madrigal is printed separately, at prices varying from 4 to 12 cents each.

Novello's Part Song-Book.

In One Volume, handsomely bound in cloth, with illuminated lettering. Price, $2.

This work consists of new Glees and Part Songs, by the best modern composers-among others, Bishop, Benedict, Macfarren, Rimbault, Wesley, &c.,-with reprints of some of the best Madrigals by ancient composers, and Part-Songs by eminent German composers, set to English poetry. Each Glee and Part-Song printed separately, at from 4 cents to 13 cents each. Vocal parts to the whole work, 25 cents each part; Vocal parts to separate Glees, &c., 8 cents per set.

Orpheus:

A Collection of Glees and Vocal Quartettes, by the most admired German Composers, with English Poetry.

This collection is principally for male voices. Twenty-nine books, each containing about six Glees, in separate vocal parts, with separate Piano-forte accompaniment, have been published, and the issue is continued-the new books being received by J. A. Novello immediately on their publication in London.Price 88 cents each book.

The Musical Times,

AND SINGING-CLASS OIRCULAR, PUBLISHED IN LONDON) ON THE FIRST OF EVERY MONTH. Containing Antoems, Chorals and Hymns, or Glees, Madrigals and Elegies, for One, Two, Three, Four, or more Voices. Price 3 cents each.

A Monthly Journal, containing original articles by EDWARD HOLMES, Author of the "Life of Mozart," &c.; Short notices of Singing-Class, Concerts, &c.; Advertisements of new and important Musical Works; and, in addition, three or four pages of Music. The alternate numbers contain music with secular or s -'edo Price 8 cents each, or post-fe, 4 cents. Nos. 1 to 4, (Vols I and II), bound in cloth, with Index, $1,75; Nos. 49 to 96, (Vols. III and IV), bound in cloth, with Index, $1,75; Nos. 96 to 144, (Vols. V and VI), bound in cloth, with Index, $1,75. Either Vols. 3, 4, 5 or 6, may be had separately, in paper covers, 75 cents each. Annual subscription to the Musical Times, 50 cents, post-paid.

J. A. NOVELLO,

Sacred Music Store, No. 889 Broadway, New York, And at 69 Dean street, Soho Square, and 24 Poultry, London.

HALLET, DAVIS & CO.

MANUFACTURERS OF

Grand, Parlor Grand,

and Square

PIANO FORTES,

WITH THEIR

PATENT SUSPENSION BRIDGE AND GRAND ACTION.

409 Washington Street, Boston, (Near Boylston Market.)

New Collection of Catholic Music.

The undersigned have recently published
THE MEMORARE,

A Collection of Catholic Music, containing Six Masses, a short
Requiem Mass, Vespers, and a variety of Miscellaneous Pieces,
suitable for Morning and Evening Service, and for Family or
Private Devotion, with Accompaniments for Organ or Piano-
Forte. By ANTHONY WERNER, Organist and Director of the
Choir of the Cathedral of the Holy Cross, Boston.

The "Memorare" is published in one large quarto volume of 272 pages, durably bound, and sold at the low price of $2,50 per copy, or $24 per dozen. Copies will be forwarded by mail, post-paid, on receipt of the price,

Oliver Ditson & Co., 115 Washington St.

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C. L. WATKINS & Co. (Successors to REED & WATKINS,)

Wholesale & Retail Dealers in PIANO-FORTES

AND MELODEONS,

From the most celebrated

Eastern Manufactories. WAREHOUSE and SHOWROOMS, No. 51 Randolph Street,....................Chicago, Ill.

JAMES W. VOSE'S PREMIUM PIANO-FORTES.

A SILVER PRIZE MEDAL

Was awarded for these Pianos at the last Great Exhibition in Boston, in competition with the best makers in the country, for their fine musical tone and perfect action. Also,

A BRONZE MEDAL,

.For the superiority and beauty of the exterior. Every instrument purchased from this establishment will be warranted to give full and perfect satisfaction. Warerooms 335 Washington St., corner West St., BOSTON.

WILLIAM GOOCH,
TEACHER OF MUSIC,
AT JAMES W. VOSE'S, No. 335 WASHINGTON STREET.
S. B. BALL,
TEACHER OF MUSIC,
Rooms at Rev. A, A. Miner's Church....School Street, Boston.

SIGNOR AUGUSTO BENDELARI
Gives Instruction in Singing.
Residence No. 86 Pinckney Street.
ADOLPH KIELBLOCK,

Teacher of the Piano and Singing,

U, S. HOTEL.

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C. BREUSING,

IMPORTER OF FOREIGN MUSIC, 701 BROADWAY, NEW YORK,

Dépôt of Erard's Grand Pianos.

CIRCULATING MUSICAL LIBRARY.

Constantly on hand a complete assortment of American
Publications.

J. H. HIDLEY, PUBLISHER OF MUSIC, And Dealer in Musical Merchandise,

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For one column, (126 lines) first insertion......$12.00 each subsequent....$6 00 Special notices (leaded), each insertion, per line 20 cts. Payments required in advance: for yearly advertisements, quarterly in advance.

No. 21 SCHOOL STREET.

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