JANUARY 17, 1885.] Mr. Cowen, Mr. Stanford, and others. Foreigners will have "Is not the area of music large enough for all?” perpetually disturbed while writing copy, will at once understand how fatal interruption must be to musical composition. I don't for an instant infer that one is easier than the other, yet cannot help thinking that writers can pick up the broken threads It is impossible for of an idea more swiftly than musicians can. us to work to advantage in short spells-bit by bit, as it were, for an hour or so at a time, as I understand one can write or paint. It takes a long time for the musician to get thoroughly hold of his subject, and when he is in full swing he likes to write on and on till he is beginning to get tired. Nobody, I should think, could write any fairly good music when he is fatigued and jaded. I apprehend one must come fresh to any artistic work." "You have never undergone the drudgery of teaching?" "I have given a few lessons. I began to write early in life, and during the time I was composing serious music went through some little hard times, like other beginners in every art or craft. But instead of teaching for bread I, fortunately, wrote songs, at first for five, and then for ten, guineas a piece and more. They happened to strike the public taste. Many of these I published 'The Lost on the 'royalty' system-so much per copy sold. Chord' has brought me a yearly income ever since. The only one of my better known songs that I sold outright was 'Sweet hearts,' for £700, to Chappells. I was pleased to get so much money, and I hope and believe my friends did well by the bargain. You know all about 'Box and Cox,' and my subsequent work with Mr. Gilbert. The sale of the book containing the full score of 'The Pirates of Penzance' was almost incredible. The first batch ordered and printed was 30,000. I have a collaborator in Mr. Gilbert, who writes lyrical words in a manner equalled by no living author. Fortune has been very kind to me." "It is precisely because you have gained such honours and rewards as to be beyond all suspicion of envy, jealousy, discontent, or disappointment, that I ask your opinion on the present and probable future of music and musicians in England." "I have been successful in my own country beyond my deserts, and I am always received most cordially abroad. I am, I believe, but am not quite sure, the only English composer of to-day who has had an important work performed by the French Conservatoire. I can afford to be outspoken on behalf of my brethren. The knowledge and appreciation of music have enor-will be thrust to the wall. At this moment a great number of mously increased in this country during the last twenty years, and will probably go on increasing; but I am not so sure that the position of the professional musician will improve in proportion. In England there is still a curious preference for musical foreigners. Italians, Frenchmen, and, above all, Germans, are For instance, the preferred both as teachers and executants. direction of the Birmingham Musical Festival is considered a sort of blue ribbon among English musicians. It has been given to a foreigner who speaks very little English, against whose ability I have not a word to say, except that a German who can not speak English appears oddly selected to conduct English choruses." "Sir Michael Costa was a foreigner." "True; but he was domiciled in England, and, moreover, had a position such as no other person is likely to enjoy. He reigned at once over the Royal Italian Opera, and the Philharmonic and Sacred Harmonic Societies. And he was an almost ideal conductor and a sound musician, although not endowed with any special creative faculty. He, of course, conducted the Birmingham Festival. This was very different from importing a foreign musician for the occasion." "You then hold patriotic views as to art?" Not, as I think, for all who are now studying it as a profession in this country to make a living upon. Everybody cannot achieve success as a composer. Playing the organ at church is a help to a young musician, but those who hope to live by their art divide themselves naturally into two classes, teachers and executants. I will give you in round numbers an idea of the army of young persons now going through a course of instruction at the public institutions in London. The Royal Academy of Music has 500 students, the Royal College of Music 200, and the Guildhall School of Music, I believe, 1,300 or 1,400. I do not say that all of these-especially the latter-intend to live as professional musicians, but a great number have a hope of doing so. It is, I should think, very foolish to give a son musical training unless he has almost what is called genius, or at least decided talent. Competition will be very great, and the weaker well-taught young musicians are very hard put to it to find anything like employment, remunerative or otherwise. The sheetanchor of these is supposed to be teaching, but teachers are, owing to many causes, becoming more numerous than pupils. As for the executants, they have to struggle against foreign com. petition also. The possessor of a very fine voice has an advantage over everybody, but many strive to become singers who are very poorly qualified in that prime necessity. And when singers and instrumentalists are proficient they are met by a serious competitor in the shape of that new development, the musical amateur." "Is he or she very formidable?" "Extremely so as interfering with the bread and butter of the profession. You urge that the general interest of the public in any pursuit must be in favour of those professing it, and quote the prosperity of the theatre as an instance. The cases are not parallel, although there is some similarity between them. You know the theatrical amateur well! Have not you found that he is, as a rule, much more interested in what he acts himself and his friends and rival amateurs act than in studying the method of a genuine actor, except perhaps for low comedy business? He will sometimes night after night till he learns that bit of go business" with the key or the candlestick, or whatever it is, but "Still he goes to the play, and in a manner encourages the he is all the time thinking how nearly he can imitate." drama, as the musical amateur goes to opera, oratorio, and concert." "I know it is laid down that art has no nationality. In a broad sense this is true, but in its particular application to musicians it is very wide of the mark. As a free-trader you insist on free-trade in art. Tell me, then, how English musical Hardly. I think, on reflection, you will agree with me that executants are received abroad; how an English violinist would get on in a French band, how an English flute player would be accepted in Germany? I am not referring to 'stars,' but to good musical amateurs as a body go very little to public perform. average performers. Look at the conditions of the Paris Grand ances. They care as a body infinitely more for their own sing. Opera concerning the production of new operas by French com- ing and playing than for that of the most famous artists. Look posers. There is no idea of 'fair-trade' or reciprocity of any at the audiences at the Monday 'Pops' and many other conBut certs. They are composed of the same persons, not of musical kind with regard to ordinary English musicians abroad. English people, who have excellent professors of their own, amateurs. Many of these sing and play very well, and as nearly prefer Germans to teach the pianoforte to their children. Per- everybody likes what is fairly good and costs nothing better than haps they get them cheaper. I do not know, but I should think something very good for hard cash, musical amateurs make their it very likely, from various incidents which have come to my own and their friends' music instead of paying professional perknowledge. The prejudice in favour of foreign teachers seems formers. Such joys are cheap, and appear to interest the amaitem from an artist's income, just as vast institutions like the to promise badly for the young people whom we are now teur musical mind very much. But they lop off an important Guildhall School of Music deprive private teachers of numerous educating as musicians in this country.' pupils. I should think half the music of London is performed by amateurs to one another. They have their inner public, their partisans and admirers, just like Handel and Buononcini, Grisi and Lind, Wagner and Gounod. They are perfectly happy among themselves, but afford very slender support to professional musicians." "The field of labour will grow larger." "Or a church without bishoprics?" "Then you are not hopeful as to the outcome of enlarged musical teaching?" "It is only as to the craft that I am not very sanguine. It may be excellent for the nation if hard on my brother English musicians. Possibly it is only a phase of a change which may make England a great musical nation. I will not attempt a 'forecast on this part of the subject. What I see before me is that foreigners are preferred for teaching, and for the great prizes of the highly skilled musician; that amateurs are becoming in a way rivals to the profession as executants; and that probably a great school like the Guildhall School of Music, with excellent professors, is perhaps a little confused as to its purpose, or is in a measure diverted from its purpose by the public. The latter is quite in consonance with our national genius for giving to those who have. When an educational prize, snch as a scholarship, is bequeathed, it is competed for and sometimes won by the children of parents who could amply afford to pay for their education without begging from the founder. Our old grammar schools have been treated very much like this, and when cheap and admirable musical education is given for sums not exceeding forty pounds a year, persons of considerable income avail themselves of the opportunity. But the effect is curious. The classes intended to be benefitted are cut out, and the intention of the foundation reversed. The Guildhall School of Music gives excellent teaching to intending teachers and also to a crowd of ordinary pupils. It thus educates teachers and takes away the persons to be taught by making the latter its own pupils. Perhaps the right people are sometimes missed, but very rarely I think, for musical capacity is of all that which declares itself early." "Shall we ever have a genuine National serious Opera?" "I know the American saying about prophesy, so I don't pretend to know. But it seems likely enough. There is room for something, and this might be created here as well as on the Continent and imported. But many conditions are required for success in operatic management. I apprehend that a successful opera must be played every night to make money. Life is too hurried now to calculate over one opera on Mondays and Wednesdays, another on Tuesdays and Thursdays, and another on Fridays and Saturdays. People will not, I think, do this; and then, if you run your opera every night, you require a double cast of singers. Good singers will hardly consent to sing through a grand opera every night. Very few have sufficient physical power, and even they would be wise not to exert it. So there would be difficulties in management apart from composition and execution. You must also consider the rivalry of the concertroom. I do not now speak of the great rewards given to prime donne popular throughout the civilized world. My remarks are generally concerning musical people, in Mark-lane style, "from fair to middling." But a good singer can now get as much for singing two or three songs at a concert as for singing through a long and difficult opera, requiring some knowledge of the stage as well. But I yet think that England may become a great musical country, and that before long we may have a National Opera." "AU BARD 'GUS AU FO." A "Gaelic Idyll," under the above title-which, translated, means "The Bard and the Knight"-was produced on the 28th ultimo, in Steinway Hall, New York, by the "Society for the Preservation of the Irish Language." The composer, Mr. Paul McSwiney, who is the musical conductor of the New York branch of that society, conducted the performance, and all the papers unite in speaking well of the work. The Idyll, or Cantata, is written for four solo voices, orchestra and chorus, the latter, as far as one can judge by a hurried perusal of the libretto, acting the part of the Greek chorus, i.e., explaining the action of the piece. It was performed in the Irish language, and is, to my knowledge, at any rate, the first purely Irish work on record. I have no means of criticising the music, and extract the following from the Morning Journal:-"The composition is replete with charming melodies, and was received with genuine enthusiasm"; and Star: "For the music of the Idyll nothing but praise can be given." The libretto, which is also written by the composer, is however of great literary excellence. I cannot forbear quoting the following verse from the prologue (the work is divided into a prologue and two parts) :— Ah! music lived in the Old Land then, And minstrels there were whose immortal strain This is the second work of any dimensions from Mr. McSwiney's pen, the first being "Amergin," an opera in prologue and three acts, first produced at the Opera House, Cork (the composer's native city), February 23rd, 1881, and of which he was also his own librettist. F. ST. JOHN LACY. Mdme. Marie Roze with much kindness has just given an entertainment to the children of the Seamen's Orphanage, Liverpool. Mozart's trio was heard for the second time only at these concerts. It is in Mozart's happiest vein, and consists of three movements: the usual opening allegro, and the finale in rondo form, and an especially interesting and individual minuet, which the audience did not fail to duly appreciate. appeared to perform his solo, proved that his steady, The applause which welcomed Herr Straus when he unobtrusive artistic work among us is fully recognised, The breaking of a string in the middle of the “Courante" caused a short delay. By some strange chance Herr Straus seems more subject to this form of annoyance than most of his colleagues. I do not remember a string breaking with Mdme. Norman-Néruda or Herr Joachim; but I can recall at least three occasions when Herr Straus has met with this tiresome interruption. "It is the will of Fate." His selection comprised the four earlier movements of one of Bach's unaccompanied violin sonatas. The fifth and last movement is a familiar Chaconne, but the four movements introduced were heard for the first time at these concerts. Miss Zimmermann's solos were not calculated to reveal her strong points. She has neither the fairy touch nor the magic grace which alone can make this style of composition effective. She has other and higher qualities, but not these. As an encore she played a well-known study by Scarlatti. If I mistake not, Mr. Santley here introduced, for the first time, an English version of Heine's ballad, "Belshazzar," fitted to Schumann's wondrously wrought-out setting. The programme prints the English words anonymously, never even stating that they are a translation. Nevertheless, both on account of Heine's poetry and Schumann's music, their appearance calls for passing criticism. The version has the merit of being effective and spirited, but betrays in many instances haste, carelessness or ignorance in the translator. Such rhymes (?) as "mien, again":"alone, Babylon"; "dumb, tomb" might easily have been avoided. We do not usually say "returns again" in English, and the line (coming after, "The king has filled the sacred cup to the brim ") "Und er leert ihn hastig bis auf den Grund" does not mean, as is stated, "Then he empties it hastily on the ground"— where would be the sense of that? but "to the bottom," "to the last drop." The translation is often less literal than it might have been made; but this absurdity at least may be removed if the version is not yet published. No pains should be spared to make this impressive ballad as admirable as possible in its English dress. B. F. WYATT-SMITH. Mr. Viard-Louis's third concert, for the performance of Beethoven's works seriatim, will be held at the Prince's Hall on Tuesday afternoon (January 20th). As regards the (solo) sonatas for pianoforte, so well played by Mr. Viard-Louis, the "Pastoral" in D major, and the fine triad of "Op. 31" come next in rotation. ST. PETER'S CHURCH, EATON SQUARE. On Thursday, the 8th inst., a Service of Praise was held in this church, at 3 p.m., at which portions of the "Messiah were sung. The treble solos were entrusted to Master S. Wood, who, notwithstanding the fact of his suffering from cold, sang joice greatly," and "I know that my Redeemer liveth," with clearness and taste. Mr. Sexton (of St. Peter's choir) sang "O Thou that tellest," and Mr. F. Williams (of St. Peter's "Re choir) sang the tenor music very well. The bass solos were kindly undertaken by Frank Pownall, Esq., who contributed very much to the beauty of the service by his artistic singing and clear enunciation. The chorus consisted of about seventy voices, valuable assistance being given by about twenty gentlemen from various parts of London, and the effect as heard from the church was all that could be desired. Mr. W. de M. Sergison presided at the organ, as usual, and accompanied with much taste and judgment. A short address to the congregation and choir, on oratorio services, was given by the vicar (Rev. J. Storrs) before the "Messiah" began. The body of the church was well filled, and had the weather been finer, doubtless a larger congregation would have attended. Prelude in E minor (Op. 35) No. 1 Nocturne in D flat (Op. 27) No. 2....... Mazurka, in B flat (Op. 54). (For pianoforte alone). Mdme. Essipoff, like another gifted pianist of the sterner sex, is an admirable interpreter of Chopin's peculiar and extremely difficult music. Subtility (not subtlety) of style, exquisite finesse of expression, nicest accentuation, and graceful harmony of the text without abuse of tempo rubato, may also be noticed. Mdme. Essipoff is thought by some professional musicians to be quite equal to Rubinstein as a "Chopiniste." The Nocturne in D flat is familiar to all. The Bechstein "concert grand" pianoforte sounded a trifle too heavy for the delicate theme, especially in the bass. An encore, perhaps excusable on such an occasion, brought forward an extra, of no great interest and significance, and unknown even to the erudite "book-worms" in attendance. LIVERPOOL. (From our own Correspondent). JAN. 13th. The Liverpool Association of Professional Musicians entertained Sir George Macfarren, the President of the Association, at dinner on Thursday evening last, the Martin Schneider, T. M. Pattison, I. W. Argent, John following professional gentlemen being present :-Messrs. Rees, Henry Grimshaw, Theodore Goebbels, R. Tivendell, H. R. Eyers (London), W. H. Jude, Adolp Krausse, J. Veaco, J. G. Veaco, Albert Workman, James J. Monk, Alexander Phipps, James Hodgson, Thos. Lee, Mus. Bac., Cam., J. F. Swift, Claude Ridley, J. Evans, Richard Burgess, W. H. Hunt (Mus. Bac., Lond.), Carl Heinecke W. Crowe, Vice-President, who occupied the vice-chair, (Hon. Secretary and Treasurer), W. D. Hall, and Dr. R. the president being in the chair. Mr. Vernon Rigby's, the Rev. B. Rigby, O.S.D., who made Among the visitors, non-professional, was a brother of an appropriate speech in response to the toast of the visitors. expressed all goodwill to the society, and hoped that it Sir George Macfarren, in proposing the Association, would be the means of creating a spirit of emulation and not jealousy amongst the members. Dr. Crowe responded. Rubinstein's new pianoforte trio, which opened the second part, comprises four movements: an allegro con fuoco in G minor and major, an adagio in D major, a presto in G major, and a final allegro in the same key. To judge after a first hearing, this trio strikes one as unequal, rather weak in that all-important movement, the slow one, and so far defective as regards construction, that the pianoforte absolutely lords it over the strings, said: It has been no ordinary gratification to me to have Mr. Jude, in proposing the health of the president, although it is true that the latter are allowed to converse found myself on such an occasion one of a party so together from time to time in dialogues and "tributaries." Thus in the finale, whilst the keyed instrument is well unanimous and so full of friendly feeling and sympathy. displayed, the violin seems to sigh in feminine protests this society, I feel that special zeal and high ability are Although indefatigable in promoting the best interests of against its necessarily superior competitor. The presto (or scherzo) is the best movement, and the same or nearly the same may be said of the fine trio in B flat. Mdme. Essipoff was constrained to exert herself, and of course could not make her peculiar excellence so prominent as in the solo of Chopin. Signor Piatti made his violoncello sing most deliciously in the duet of Chopin, an early work, "simply planned though showy" (to quote from the book), and Mdme. Essipoff eloquently responded to the utterances of her collaborateur. Mdme. White's pretty, if commonplace, setting of Byron's stanzas won a bis, and was repeated. Mdme. Essipoff will appear again this afternoon and play a piece of the music-manufacturer, Thalberg. Mr. Max Pauer has been engaged for Monday night to play Beethoven's late and penultimate sonata in A flat. It should be explained that this trio of Rubinstein is only "new" at the Popular Concerts. The work forms the second of two trios, early compositions, "much less elaborately constructed and developed " (to quote from the programme book)" than some later works from the same pen is produced to the public at these concerts." The encore piece of Mdme. Essipoff, on Monday night, was a study by Schütt, called " Mignon"; in no wise re markable. A letter in the Times, speaking of the proposed teaching University, suggests the giving of the title of British University to the existing London University as the most ruly national institution of its type. Whatever comes of he new scheme, it is to be hoped that our musical instiutions will be duly borne in mind. required to do justice to the toast which I am about to propose. These qualifications I unfortunately do not be exceedingly brief, I must remind you, my friends and possess, but in a few remarks, which I promise you shall brother artists of this great, this present opportunity, this high perogative of the functions you must necessarily exercise, and the deep debt of gratitude which all of us owe to the noble president in deigning to honour us with his company this evening. If this society remains true to its patron, if it justifies, secures, and perpetuates the name it has assumed-which from my heart I trust it may doas regards the profession here, "Night will give way to morning," and the odious and ever impending storm of petty jealousy, which has in its fictitious garb so long reigned supreme, will give way to the refining influences of a purer atmosphere, and inaugurate a settled order and regularity which at the present time are non-existent. In the old times we had comparatively speaking few good theorists, but many good composers; in the present day we have a multiplicity of musical arithmeticians, but few creative musicians, and is it not then a most intense pleasure, yes a double pleasure for us to welcome our dear good friend, Sir George Macfarren to this festive board, to-night? for as you know he is not only a master of, and combines and embodies all that is to be found in the most abstruse theories of the greatest scientist of the past or present; but in his oratorios, operas, symphonies, cantatas, and church music he justly lays claim to be considered as a local paper of this morning suggests the foremost English representative musician of his time. If I were to attempt to describe the remarkable, the enduring, the learned and imperishable analysis which 46 PART 1. Overture, "Jessonda". Spohr. Dvorak. Dvorak. Massenet. Grieg. Sir George has enriched and glorified the world of poses for which they were written. Herr Heerman was the music with. I could do but scant justice to his merits; soloist in Spohr's well-known dramatic concerto for violin and but, gentlemen, knowing as we well do the thorough orchestra. As was pointed out last year, Herr Heerman's tone absence of all assumption and affectation, and the pervad- is somewhat thin, but on the whole he is a pleasing player. Miss ing modesty, both of manuers and of heart, which through-air from his opera of "Alexander"; and she also sang Horn's Thudichum's firm voice was heard to great advantage in Handel's out the career of our noble president have been so old ballad in a very finished manner. conspicuously typified, I purposely refrain from alluding to Rienzi," one of his earliest works, concluded the concert. Wagner's overture to a life-work which future historians will hand down to the The scheme of the fourth concert, a most interesting one, coming ages as an example of what, in the hands of was as follows:genius, loftiness of purpose coupled with exquisite workmanship can accomplish. Sir George, if in the name of Liverpool I thank you for having unfolded to us so many rich gems of the divine art we humbly practice, and for having turned on the bull's-eye lantern of profound thought into some of the darkest and ugliest corners of musical science. Allow me also to thank you sincerely for your valued and honoured presence here this evening. Gentlemen, I am sure the toast I now propose will be received with befitting reverence, honour, and enthusiasm; but this brief address would be indeed most incomplete if it made no mention of her who had the most interest in the fame of her husband, and who by her own refined and graceful pen has, if possible, augmented and extended it. I wish, my friends, that this toast had been proposed in more befitting and elegant language, and the only way I can account for having been asked by the Committee to deliver an address at all, is, that on the last occasion when we met together I gave a good illustration of the capital old Persian proverb, which runs thus:— "Blessed is he who maketh a short speech, for he shall be invited again." Mr. Monk, in proposing the toast, "The Executive," eulogised the members comprising the committee, and singled out for special mention the hon.-secretary and treasurer (Mr. Carl Heinecke) who had really borne the "burden and heat of the day." Messrs. Heinecke and Hall responded, and the latter expressed a hope that the enjoyable meeting that evening and the presence of the president would be a thought which would long remain with them and spur them on to renewed exertions in the success of the Association. Sir George responded on behalf of Lady Macfarren, and pointed out the important service rendered to art by the sisters of the musical profession, in the shape of female vocalists, violinists, and teachers. in Méhul's sparkling overture (not so often heard in this country as it deserves to be) opened the concert well. Brahms's last symphony was magnificently played. This work, so full of noble ideas, was performed in England last May by Herr Richter. It was subsequently given at a Crystal Palace concert October, when it was admirably rendered, as on the present occasion, under Mr. Manns's direction. An account of the performance at the Crystal Palace was given in the Musical Standard of October 25th, 1884. The prelude to "Colomba,' by Mackenzie, and the same composer's two movements from "The Rose of Sharon," were naturally listened to with more than ordinary interest by an Edinburgh audience. The operatic prelude is a fine example of modern orchestral work, while the two movements from the oratorio seem thoroughly to fulfil the pur Solo Pianoforte...... Mr. Lindsay G. Deas. Instrumental Movement from Symphony Dramatique, Part II.-Roméo seul-Tritesse-Concert et Bal Part III.-Scène d'Amour - Nuit sereine-Le Jardin de Capulet, silencieux et désert. des Songs. Song, "Tell, fair Irene " ("Atalanta ").... Berlioz, Handel. The two orchestral pieces, by Dvorak, the eminent Bohemian composer, stand out in strong contrast to each other, the Notturno being scored for a strong string band, while the Scherzo Capriccioso is written for a full band, and brings into play all the resources of a modern orchestra. Both movements were given in a most finished manner. Three movements from Berlioz's dramatic symphony, "Romeo and Juliet," formel the piè e de resistance of the evening. Surely never finer music, of the kind, has been written than this. What shall be said of the love scene, with its dreamy passages, or the famous "Queen Mab' fairly entranced by the marvellous beauty of the work, to which scherzo, the beau ideal of fairy music. The audience were full justice was done by Mr. Manns's band. Mr. Lindsay Deas, a local pianist, acquitted himself most creditably in Grieg's concerto, a work well worthy of the famous Norwegian. In Sterndale Bennett's charming Barcarolle, and a solo by Schu mann, Mr. Deas further proved himself an excellent performer. Mr. Maas, who was in grand voice, met with a great reception. overture proved a fitting conclusion to this most interesting A brilliant performance of the ever-popular "William Tell' concert. C. H. SIDMOUTH.-The Choral Society gave their first winter concert on Thursday, Jan. 8th, in the Assembly Rooms. The programme included Handel's "Acis and Galatea," Schubert's B minor Symphony, and overture to "Athalie" (Mendelssohn), Mr. Michael Rice (Torquay) led the orchestra, and Dr. H. A, Harding conducted as usual. The concert was a great success in every way. The usual Christmas examinations of the College of Preceptors included the subject music, as usual. The examiners for this department were Dr. W. J. Westbrook, and Mr. E. H. Turpin. The Educational Times recently explained that "The Universities of Germany have at length united to wipe away the reproach attaching to some of their degrees, particularly that of Ph.D., namely, that they could be obtained from some institutions in Germany for a money payment simply. It has been agreed by all the faculties in the Empire that neither in law nor medicine, in philosophy nor divinity, shall any doctor's degree be conferred upon a candidate in absentia; and that the inaugural dissertation, written in German or Latin, shall not, in any case, be dispensed with. The qualifications for the degrees in all the German Universities are now practically uniform. In addition to passing the "maturity" examination at a gymnasium, candidates are required to attend a minimum number of classes at a University during at least three sessions." Several distinguished musicians have honoris causa held the title Ph.D., Mendelssohn included in the number. The musical degrees of Mus. Bac. and Mus. Doc. do not exist in Germany or anywhere else outside England. Foreign Musical Intelligence. MUSIC IN PARIS. (From an occasional Contributor.) Having arrived in Paris on the last day of the old year, I naturally soon beset myself to discover what musical and other treats the great capital might have in store for New Year's week. At the Opéra "Les Huguenots"; at the Opéra Comique, "La dame blanche," "La fille du regiment," and other works of that category which have grown familiar by repetition. Lastly, I was quite thrown off my bearings in finding no orchestral concert advertised. Passing from music to the theatres generally, the word "Athalie" caught my eye-"Athalie" as Racine wrote itas it inspired Mendelssohn's "illustrations"-by the actors of the Odéon, and with upwards of 150 performers, under M. E. Colonne. This I made up my mind not to miss, but as the performance was not to be a single one, and considering the severe character of both words and music, I did not anticipate anything more than a moderately filled house. And I did not even care to importunate friends, who would have readily procured my admission if spoken to in time. To be brief-I sauntered up about ten minutes before the "lever de rideau," met a crowd leaving the pay-box, and finally, after great luck, found myself in a corner right behind the harpists as they were commencing the arpeggio passages of the overture. Racine's "Athalie" was familiar to me. I remembered it as a school book, also having had to commit to memory a part of it under a professor of declamation of the Conservatoire. Mendelssohn's music, too, was familiar, each strain recalling, alas! some platitude or jingle of the wordmedium by which we utter this divine music in England. But here was the stirring tragedy as it inspired Mendelssohn to supply those few vivid illustrations which depend entirely in pertinancy upon the lyric itself. personators. A new symphonic poem called "Eroika" by Anton Rubinstein is to be performed at Leipsic before long. Halévy's posthumous opera "Noah," completed by his son-in-law Georges Bizet, is to be produced in the course of this season at Karlsruhe. M. Victor Hugo, the author of the play upon which the opera libretto is constructed, has consented to allow Verdi's "Rigoletto" to be performed in Paris. The death is announced at Paris of M. Jules Bénard, the promising young composer of two pretty little comic operas "M. de Florian," and "Moulin de Lilas." M. Bénard was only twenty-five. the Vienna Court Opera :-Grammann's "Andreasfest," The Berlin Wagner Union intends celebrating the anniversary of Richard Wagner's death, February 13th, by a memorial festival, when the greater portion of "Parsifal" will be given. At St. Petersburg recently the performance of "Lakmé" was the occasion of a great triumph for Mdlle. Van Zandt, who sang the title character, and was recalled thirty times at the conclusion of the opera. Joachim is to conduct the Bach and Handel two hundredth birthday celebration at Kiel. The programme of this musical festival will include a cantata by Bach, Handel's "Joshua," and Beethoven's Ninth Symphony. Vienna, in the large hall of the Conservatoire, by Dr. A strange scene was recently enacted at a concert at Hans von Bülow, who but a few months ago was the hero of a similar event at the Grand Opera House at Berlin. The concert hall was crowded, and amongst the audience were many leading members of the aristocracy. The After the previous numbers had been played Herr von programme included Beethoven's overture to "Egmont." The tragedy was admirably played-so much so, that it taking from his pocket that morning's issue of the FremBülow stepped forward to the front of the platform, and would be both unjust and invidious to particularly note denblatt, said that the journal in question had found fault any individual effort. Lambert (Père) as Joad, and with his rendering of Beethoven's "Egmont," and that, as Malle. Barthelmy as Athalie, were all that could be he would not like to wrong the composer again, his desired. Mdlle. Miette, the ever charming actress, orchestra would play instead the "Academical Overture" brought the rather subordinate part of Salomith into of the Austrian Brahms. The public indignantly probeautiful proportion and subordinancy to the other parts, tested, and called for Beethoven's overture, which after and the same tact and grace was manifested in greater some hesitation on the part of Herr von Bülow, was proor less degree in the more insignificant rôles by their duced. Brahms' "Academical Overture" was then exThe solo vocalists were respectively Mesdames Hum-pected, but Herr von Bülow, after putting on his overcoat, biani, Pelosse, and Van-Guelder. once more addressed the audience. "I cannot render it Their performances of the various morceaux d'ensemble were conscientious tired to play it." It would be difficult to describe the on the pianoforte," he said, "and my musicians are too and agreeable, though it can hardly be said that the three voices were well balanced one against the other. The angry feeling roused among the public by Herr von choruses were uniformly good and nicely phrased. The Bülow's behaviour. It is questionable whether he will war march was well played, but as the same sceneryever be asked to play in Vienna again. representing the outer Court of the Temple-remained during the whole of the piece there was no march past of armed Israelites, as I was expecting, thus making the march the only meaningless dumb show in the piece. M. Colonne kept it nicely in hand, all nuances being skilfully brought out. He even resisted the temptation of relieving the heavy two in a bar (minim) rhythm of the conclusion by adding percussion and side drums-a temptation I have heard conductors give way to. I have since learned that five more performances are to be given. Perhaps in London we may have soon a similar treat. Nearly every cultured English man and woman knows something of "Athalie "-it is so especially an advanced school book in the French language. If London can muster audiences for contemporary French plays, surely one of Racine's masterpieces, as illustrated by our great musical regenerator, would find enthusiastic acceptance even in the large provincial centres distant from the metropolis. J. W. H. A contemporary speaking of the Meiningen orchestra, conducted by Dr. von Bülow, says that:-"It counts only forty-eight members, whilst our Philharmonic has from eighty to ninety. The quality of the instruments may account for the fact that the Meiningers are wanting in that brilliancy and warm colouring which distinguish our Philharmonic orchestra. Bülow's fiddlers are good musicians, but they are not equal to the Viennese; the double-basses and trombones are capital; the oboes often harsh and shrill; the clarionets and horns good, though not as fine as the Viennese players of these instruments. A good judge will appreciate all the more the effects which Bülow contrives to make (by reserve and concentration), with his comparatively small orchestra, in such passages as the finale of the C minor Symphony, and the "Freyschütz" overture. Bülow, with his spirit of discovery and experiment, has also made effective innovations in his orchestra never thought of by other conductors. The five-stringed double-basses which give the low C, whilst the usual four-stringed ones only go down to E; the so-called "Ritter tenor violas" which, being of stronger make than the usual violas, surpass these in fulness of tone, and so lessen the too great confinally, the chromatic drums, which can be tuned by a trast between this class of fiddles and the violoncellos; pedal whilst playing. Another much discussed innovation of Bülow's, which appears of doubtful benefit, is that his band plays standing. This is really going back to an older custom, which may be ascribed to the small space at former amateur concerts, or to the etiquette of courts." |