be astonished at so numerous a band moving in exact measure, On the third day these were increased to five hundred and thirty-five. It will not fail to be remarked that neither flute nor clarinet was used; indeed the latter was then almost unknown in England; in Handel's time it did not exist. The success of the three performances was so great, and so many were disappointed in gaining admission, that two more days were added,—the 3rd and 5th of June, for which nearly four thousand guinea tickets were sold. The directors announced in the first advertisement did not all act; those to whom the credit is due, of having been active in the management of this Commemoration, are, But to the encomiums so justly bestowed on the able manner in which the band was conducted, Joah Bates, Esq., solely entitled himself; his labours were unremitting, and his reward-complete success. It should also be mentioned, that both directors and assistant-directors incurred a very considerable expense in the discharge of their respective duties, and took not a single ticket, even for their own families, without paying the full price for it. The printed return of the Receipts and Disbursements of the sums received at this Commemoration is as follows: Total Receipts 12,736 12 10 DISBURSEMENTS. Sale of printed books of the words Engraving cheques and tickets; striking medals; draw ings; guards, porters, &c. To the Westminster Hospital To Society for Decayed Musicians Left in the hands of the sub-treasurer to answer subsequent demands Total Disbursements 1969 12 0 236 19 0 0 351 8 10 6000 0 0 1000 0 0 In our next we shall give some account of the performances in Westminster Abbey during subsequent years, and of the annual and great increase in the number of performers. Also a few particulars of the most remarkable Musical Festivals in the provinces, particularly that at York, in 1825. CONCERTS OF ANCIENT MUSIC. To these concerts, instituted nearly sixty years ago, the preservation of that music which Haydn, Mozart, and Beethoven, looked up to with reverence, and the study of which is as essential to the well-educated musician, as that of the great schools of design to the finished painter, is mainly owing. While fashion was encouraging the most frivolous Italian composers of the day, and thirsting after novelty, however contemptible, the Ancient Concert steadily pursued its course, and by presenting the best models of composition to persons of the influential class, varying annually from six to seven hundred in number, and to the first performers in the country, united in its band, disseminated a taste for the sublime, the beautiful, the true in music, the effects of which have long been and still are visible in all our provincial meetings, are easily to be discovered in the productions of our best composers, and may even be traced in the manner of such foreign singers as have passed two or three seasons in this country, who, it has been remarked by able judges, both here and abroad, are almost invariably improved by hearing, what till recently they could hear no where else, the works of Handel, Purcell, Corelli, and other great masters, including the madrigalists, of the six teenth, and seventeenth, centuries. Some fears were last year entertained that the Ancient Concert had reached that period of senility which indicated immediate dissolution; but the activity of one or two new directors, a timely, judicious alteration of system, and the liberal as well as prudent sacrifices made by the performers, infused new life into the institution, and so far renovated it, that the subscribers are much increased in number, the finances are in a state which may be called flourishing, and there is every reason to believe that no present danger exists of our losing what, in spite of its faults, and some are undeniable, has been the best school for music that England, perhaps Europe, ever yet boasted. The first concert of the season took place, at the Hanover-square Rooms, as usual, on Wednesday the 5th of March, under the direction of the Duke of Cumberland. The following is the program. Song, Morirò! ma vendicata.' Grand Concerto (5th) ACT II. Recit. 'O worse than death; Mrs. Knyvett. (Theodora.) Glee, Cold is Cadwallo's tongue.' Recit. Let but that spirit." Mr. Bennett. (Samson.) Duet. 'O never, never bow me down.' Mrs. H. R. Bishop and Miss Masson The Scena, for such it is, from Handel's opera Teseo (Theseus) was first introduced by Miss Masson last year. The good sense, the feeling, with which she delivered the recitative, proved how just an estimate she had made of her powers, of her correct and articulate pronunciation of the language, in choosing this; but the air requires a voice of greater flexibility, the divisions-(shall we boldly declare these to be barbarisms, but belonging to the age?)—are not suited to her: she is equal to what is much better,-pathos, expression. The fine madrigal of Ward, composed at the end of the sixteenth, or beginning of the seventeenth century, wanted firmness, and a greater equality of voices; the trebles were too powerful, rather shrill; and the baton of the conductor made itself too audibly a partner in the concern. Mr. Bennet's tenor voice, of a good but improvable quality, will render him a more than useful singer, and may lead to eminence, with study; but he now so overcharged the air with shakes and turns, that we cannot but consider his performance rather as a failure. The execution of Martini's Concerto was perfection itself. Other may 286 6 6 surprise, but Cramer with his violin goes to the heart. In the lovely movement in A, a slow minuet, he excited strong emotion in all his 12,736 12 10 auditors. He is not one of those who, according to the well-known epigram, move only the fiddlestick. The scena of Cimarosa only wanted a little more physical power in the singer, and a more distinct calculation of the words. The Hailstone Chorus, so performed, has but one fault, it is too short; and, unhappily, the company here are too polite to be warmed into an encore. Croft's Anthem, especially as improved by the late Mr. Greatorex, is a chef-d'œuvre. Mr. Knyvett, in leaving the singers to themselves, by the omission of the organ in the quartet, showed a refinement in judgment very rare indeed in a conductor. Handel's Fifth Grand Concerto again enabled Mr. F. Cramer to display his chaste style and pure rich tone. Mrs. Knyvett, in 'Angels ever bright and fair,' stamped herself a worthy disciple of the ancient' school, in which she was educated. The glee was well executed: we were glad to hear an old élève of these concerts, Bellamy, in such force. The duet, 'O never bow we down,' deserved better treatment; it was a sad affair. Miss C. Novello, in one of Handel's finest compositions, afforded us great pleasure: her clear voice and correct intonation are most valuable qualities, and she always seems to be thoroughly acquainted with her part. We would guard her against the too frequent introduction of the turn, which, employed sparingly, but by no means so often as formerly, is an ornament: used prodigally, it indicates anything rather than a refined taste. There were points in her performance of this which showed thought, and led us to conclude that she had studied the words as well as the music; hence we are induced to hope that she will cultivate intellectual singing, leaving roulades and 'the trickeries of art' to those who have more volubility than understanding. Converso's Madrigal (1575) was very well performed, though the ladies were still over-strong for the gentleThe magnificent double-chorus went off admirably, as all such compositions do at these concerts. men. SECOND CONCERT, WEDNESDAY, the 12th of March. Opening and First and Second Movements. (Dettingen Te Deum.) HANDEL. (Oboe.) National Anthem. Lord of Heaven.' Mrs. Knyvett. (Solomon.) Duetto, Deh prendi. Mad. Caradori Allan and Mrs. Knyvett.. HANDEL. HANDEL. The Queen, accompanied by the Dukes of Cumberland and Gloucester, attended this Concert, and was received with God save our gracious King!' The old, and almost worn-out, selection from Saul was at least well performed; but the semi-chorus, Along the monsteratheist strode '-the finest part of the scene, by the by, being omitted, the rest of the words become unintelligible. Stafford Smith's madrigal leaves most other things of the kind far behind, and convinces us that the talent for this species of composition was only smothered, not extinguished by the Round-Heads, the Sir Andrew Agnews of the 'Praise-God-bare-bones' period. The deeply devotional air from Samson was sung in a manner, by Miss Masson, that left nothing to which the severest critic could object. Not a syllable less can be said of Mrs. Knyvett's scene from Jephtha: we never heard it delivered in a more pure, a more affecting manner. And we will take the present opportunity to say, that the great merit of this lady is not justly appre ciated by managers of concerts. Why is she never, or very rarely, heard at the Philharmonic? Why at certain music meetings is she never engaged?—The chorus from Joshua was a most splendid performance. The movement in в minor, with the bursts of the brass instruments, shakes the strongest nerves. We have here an instance of the sublime in music. Avison's Concerto in G minor, for stringed instruments only, would not so long have kept its ground had it been the meagre composition that some pretend, for the name is not a rallying word for partizans. The slow aria in the major key with which it concludes may, for beautiful melody, challenge any composition, of any age. The celebrated scene from Romeo was most delicately sung by Mad. Caradori; but, in truth, it wanted male attire: and it also wanted that effect which Mad. Pasta, and she alone, can, or could once, give to it. Stevens's clever glee, full of genius, was delightfully sung. The selection from Belshazzar proved to us as tiresome as ever; the eternal recitative, tolerable, perhaps, as part of a musical drama, is hardly bearable detached, and in a concert room. The chorus certainly is MOZART. masterly, but hardly indemnifies one for the fatigue of listening to the GREATOREX. previous part. Mozart's quartet, a very soothing piece of vocal harGUGLIELMI. HANDEL. mony, was most adequately performed. At her majesty's desire, this charming composition was repeated. The present is not the first proof HAYDN. we have witnessed of the queen's taste. After the solemn quartet, HANDEL. HANDEL and (Flavius.) Mr. Bennett. (Creation.). MARTINI. Of this concert, which from illness we were unable to attend, we must speak very briefly, and from the scanty information of a gentleman who was present during only a part of the performance. Madame Caradori, who had been abroad for some three or four years, appeared now for the first time since her return, unaltered in all respects. She reached the high notes in 'Let the bright Seraphim' without effort, and in the duettino, 'Deh! prendi un dolce amplesso,' with Mrs. Knyvett, was encored, an honour seldom conferred by the ancients. The latter, in an air exactly calculated for her, 'What though I trace,' was was excellent. Mr. Bennett, who supplied the place of Mr. Braham, or, rather, took what would have been assigned to him, wants strength for 'In splendour bright'; he should not hazard such attempts. The composition called 'NATIONAL ANTHEM,' and to which no name of a composer is affixed, for what reason it would puzzle an Edipus to tell, -is Haydn's Hymn, with English words, not a translation, written to it by the late John Crosse, Esq., of Hull. There was a great deal of variety in this selection, which comprised music of a lighter kind than is commonly to be met with in the Ancient Concerts. THIRD CONCERT, WEDNESDAY, the 19th of March, 'Ave verum corpus natum De Maria Virgine' came, Hush! ye pretty warbling quire,' very prettily sung by Mrs. Bishop; and this amorous ditty was immediately followed by the sacred chorus from the Mount of Olives, Hallelujah! to the Father,' &c., the execution of which was perfect. PHILHARMONIC CONCERTS. MOST of our readers are acquainted with the history of the Philharmonic Society, its rise and progress, but some few may yet have to learn when it was instituted, and with what view. To such we will briefly state, that it was established in 1813, for the purpose of reviving a taste for instrumental music of the highest class, a kind of composition that had fallen into neglect, from the imperfect manner in which, for many years, it had been performed at benefit concerts, where alone modern symphonies, &c., were attempted, and where they almost invariably became a sacrifice. The plan proposed, which was of the most disinterested and liberal kind on the part of the members of the new Society, thirty in number, was highly approved by the amateurs of this metropolis, and the undertaking was immediately rewarded by a success which has never yet deserted it. The object was at once attained, and Haydn, Mozart and Beethoven soon became more familiar to the lovers of music in this country than, we fearlessly assert, to those in any other quarter of Europe. The first concert of the twenty-second season was given on Monday, the 3rd of March, and consisted of the following works : HAYDN. J. S. SMITH. } Miss Masson. (Samson.) HANDEL. Mr. Phillips. (Creation.) HAYDN. (Messiah.) HANDEL. Cantata, 'The Seventh Day.' Composed expressly for the Philhar-y SPOHR. Quintetto, (No. 2) Pianoforte, Violin, Viola, Violoncello, and Con- J.B. CRAMER monic Society, and first time of performance. The Solo parts by H. R. BISHOP, Spohr's Symphony, in E flat, is a very scientific composition throughout; much, as all his productions are, in the style of Mozart, but making up in elaboration what it may want in imagination. The whole, nevertheless, shows the hand of a great master; and the last movement has no superior, as regards beauty of melody, and the effect resulting from ingenious instrumentation. The symphony of Beethoven, in A, is, after all, a motley production: it has many fine parts, and many eccentricities: genius every now and then bursts forth with splendour, but a wayward fancy is not less often apparent. The second movement, in A minor, however, redeems every fault: for the sake of this exquisite composition, we would gladly listen to ten times as many whimsicalities as are to be found in the other parts of the work. With the advantage of such playing, the Quintet afforded the greatest pleasure. Who like Cramer can touch the instrument? The simplest notes under his hand become eloquent. Years pass harmless over him; he is what he was when a young man; and we wish that he would now oftener play what he wrote in his earlier days, his favorite concertos, and some of his grand sonatas. The overture to Les deux Journées is second only in popularity, not in skill, to the author's Anacreon. This strikes at once; that requires to be heard twice at least before its beauties disclose themselves. Both are chefs-d'œuvre. The Cantata is one of the pieces composed under an engagement with the society, therefore, probably, not the product of a moment of inspiration. To write to order is like endeavouring to say a witty thing by desire; Apollo may not be willing in the one case, or Minerva in the other. We view this work as a study, and as such it redounds to the author's credit. We cannot say that it exhibits many original traits, but it is free from fault, except that the two recitatives and the solo are somewhat heavy. Mr. Bishop has not, it has been said, been led by the words into the trap which would have ensnared most of our composers,— a very just remark, for which we are indebted to the Spectator, but seems to have read carefully, and understood thoroughly, the poetry he has selected. The Quartet, what the Germans call a Chorál, is very sweet harmony; and the final chorus, a laboriously-worked combination of instrumental and vocal effect, attains a grandeur which has not often been exceeded. Great justice was done to this in the performance, so far as the number of voices would allow, which, had there been room in the orchestra, would at least have been doubled, we presume. This work was received with the most marked applause by the whole room. The Trio and Quartet-both beautiful compositions, but should enjoy a little fallow, were sung in a very respectable manner. His re Signor Masoni, whose arrival here had, as is too usual in such cases, been preceded by reports which led the unwary to expect an eighth wonder, was introduced to the public at the present concert. quest to play a composition of his own not having been acceded to, he selected a concerto, which, both on account of length and want of substance, was but ill calculated for the occasion. Whatever laurels he might have reaped from a better-chosen work, it certainly was not likely that he would gather any from this, a fact which he must painfully have discovered before he had worked his way through half of it. Signor Masoni is a master of his instrument: his tone is full and pure, and his execution, if not quite so finished as that of some players, is bold and brilliant. His defects are, a too frequent recourse to the highest notes that the first string is capable of rendering-squeaking sounds, which may astonish some, but create pain in most-and an almost incessant use of the slide, or drawing the finger along the string. A little of this gives expression, but where redundant it becomes a whine, and almost leads fanciful people to imagine that the catgut in its artificial condition feels some of the griefs which it had experienced in its natural state. We before had witnessed the performance of this artist in private, therefore can say that he was not now heard to the best advantage. SECOND CONCERT, MONDAY, March 17, 1834. ACT I. Leader, Mr. F. Cramer.. Conductor, Sir George Smart. Beethoven's Symphony, in F, is one of his works which require to be heard twice or thrice before it is thoroughly understood. We freely acknowledge that at first it was to us a mystery, which repetition alone explained; but it discovers numerous charms after acquaintance, though not unmixed with bizarreries. Mozart's in D, the well-known symphony, concerning which there is but one opinion, was much hurried at setting out, a fault exactly on the wrong side. It is scarcely injurious to accelerate a little during the progress of a quick movement, very detrimental to be obliged to retard. Weber's Overture, which exhibits in every bar the originality and energy of the composer's mind, was ad-' mirably performed. The Faniska answered very well the purpose of a finale: it is not devoid of a good subject, but this is managed in a trifling manner. There is a want of the author's usual breadth in the whole composition. What we have observed, as prefatory to our remarks on Mr. Bishop's Cantata, applies with equal force to Mr. Novello's: but we do not mean to institute any comparison between the two, they are widely different in character, and were not competitors. The Dramatic Cantata is certainly put together in a musician-like manner; the parts are more or less melodious and vocal; the words are carefully set, and the whole, though somewhat tame, is graceful; but it is so obviously an imitation of Mozart, the structure of the phrases, the cadences, the modulations, are so palpably the result of an intimate acquaintance with his works, that we were tempted at almost every close to salute the music with certain bravos,› in the manner practised by the Italians. This is rather selecting and adapting than composing: notwithstanding which we most willingly give every praise due to the author for the taste he has shown, and heartily wish we were able to say that invention is to be reckoned among the attributes of his composition. The duet of Paisiello promises well at the beginning, but the subject is too much dilated, the latter part is spun out to feebleness, and should always be curtailed. The manager of a concert ought to keep one important fact in view, namely, that in being invariably true to the text of long gone-by composers, he will now and then prove most injurious to their fame. Why not sometimes abridge? Why not occasionally in-, vigorate the score? Mozart infused a new spirit into the Messiah by his additional accompaniments, the adoption of which was for many years resisted by the musical bigots of this country; and there are superior compositions in great abundance, by the old masters, which, if only adapted to present circumstances, in the manner in which the authors themselves would adapt them, were they living, would come out fresh, and afford as much pleasure to the present age as they imparted to that long since passed away. The quartet, Che Diro?' is all gentleness and sweetness: it is rather in the Italian style, but the rich and fertile imagination of the great German master is continually apparent. Madame Caradori sang in a highly correct, in an elegant manner, an air which we had heard before, but are not extremely anxious to hear again. Spohr's Nonetto is one of his most fortunate works: it is a beautiful symphony in miniature, and was executed with a precision and delicacy that, we are persuaded, no other set of performers, however and whencesoever chosen, could have exceeded.. The Fantasia proved the greatest novelty, perhaps the richest treat, of the evening. We have never yet, any where, met with Willman's equal on the clarinet, and we`never before heard any composition for the instrument so profoundly expressive as the adagio forming the middle movement of this; a striking feature in which is, the accompaniment of the horns, muted, (con sordini,) producing an effect as excellent as new. REVIEW. IT is far from our intention to review one-half, or even one-quarter, of the music published, should the quantity in future brought out be as great-which, however, we think improbable-as heretofore, but what is really good, that which contains internal proofs of being likely to become permanent, will always command our attention, whoever may be its author. The name of a really eminent composer must, of course, operate as an inducement for noticing his publication, for he is, as all others, entitled to praise when due, and, on account of the influence of his example, among other reasons, ought and must submit to censure when deserved. It will be our aim to encourage and bring forward the talented but unknown professor; and, considered as composers, we shall draw no line of distinction, not being aware of any, between the amateur and professional. musician. An attempt was made to crush Byron, on his first appearance as a poet, because he happened to be a Lord, and had his spirit not been equal to his genius, it is probable that he would have been for ever silenced. The more amateurs the better for the art, and for all who live by it. We know that the number has increased, is increasing, and ought not to be diminished, and they may rest assured that they shall meet with all the support from us that the nature of our work will admit and reason justify. Gresham Prize Composition, No. 2. ANTHEM, Turn thee again, O Lord!' Composed by KELLOW J. PYE, of Exeter, Member of the Royal Academy of Music. (Novello.) 'A ZEALOUS admirer of cathedral music-said to be a very distinguished and venerable professor-in order to promote, as far as lay in his power this class of composition, instituted, in the year 1831, a prize of a gold medal for the best Original Composition in Sacred Vocal Music, . either Hymn or Anthem, the words to be selected from the canonical Scriptures, Apocrypha, or Liturgy of the Churh of England, and to be set for three, four, or five Voices, with a separate Part for the Organ.' That encouragement of this nature should have emanated from an individual, from a musician, who could have had no direct interest in the matter, while deans and chapters, whose business it surely is to assist in advancing that which forms so essential a part of their church service, remained in a state of apathy, seems a little extraordinary. But no matter the greater the praise of him who showed them the path of their duty, whether they follow it or not. The first prize thus liberally offered, was adjudged to Mr. Hart, for an anthem. That which gained the second is now before us. We are advocates for preserving the style of our cathedral music, which acts by association on the feelings of so many; and to association may be ascribed much of the effect of modulated sounds. Mr. Pye appears to entertain the same opinion. He has copied none, has imitated none, but the general character of his work is in unison with that of the best of our ecclesiastial composers-a fact which we consider strong evidence in favour not only of his judgment, but of his taste. His anthem is for five voices, beginning with a chorus in D minor, built on two subjects, in the fugue manner, grave, devotional, and agreeable to the ear. The second movement in F, a verse for all the voices, is soothing and sweet, yet exhibiting, but not ostentatiously, all the art of counterpoint. The last movement is a regular fugue, composed of two subjects, though not what is properly called a double fugue. This will engage the attention of the partisans of the severe style, who will find no reason to be dissatisfied with such a specimen of musical learning: but it has nothing in it of that austere character which is so repulsive to the great majority. In a word, then, this anthem is a proof that what is scientific may at the same time be pleasing; that it is possible to conciliate the learned few, and satisfy the untutored many, by the very same musical means. GRAND MARCH, for the Piano-forte, composed by J. N. HUMMEL. (Cramer, Addison, and Beale.) Tuis, perhaps, Mr. Hummel may call a bagatelle. It certainly is not long, learned, or calculated to show forth great powers of execution; but it possesses superior qualities, it exhibits invention, is new, practicable ́by all, and will gratify ninety-nine hearers out of every hundred. The key chosen is not very commonly used for music of this description, or, indeed, any other, but some of the novelty in the present March may be ascribed to its being written in в minor. DOUZE RECREATIONS MUSICALES. Twenty-four Airs, selected from National Melodies, &c. of French, German, and Italian Composers, arranged as Rondos, Fantasias, &c., for the Piano-forte, by HENRI HERZ. Op. 71, Books 1, 2, 3, and 4. (Goulding and D'Almaine.) THE difficult music of M. Herz has had its day, and, together with all .compositions of the same character and substance, is fast retiring to enjoy a long, a very long, night's repose. The taste of piano-forte players is on the recovery: these begin to find out that it is possible to be better employed than in practising five and six hours daily for the purpose of vanquishing passages that are worthless when conquered, "and which drive sensible people from the performer's presence. The reign of good music is fast returning, and harlequinades, in all shapes, rapidly disappearing. Skill on the piano-forte will again become the accomplishment of liberally-educated people: it has latterly partaken more of the nature of that sleight-of-hand which is so very becoming in those who travel with cups and balls in their portmanteaus, and a MerryAndrew in their suite. We notice these four books, not for the purpose of dwelling on their contents, but because the author, whatever may be his merits, has attained great celebrity; and also to say, that he has here put in print four-and-twenty arrangements that are easy, and well adapted to the instrument. Some of the airs, however, he has treated in a manner which, were they personified, they would speedily resent. What would the tender, beautiful Last Rose of Summer' say, on finding itself caricatured in the form of a jig? 1. The favorite Airs in Meyerbeer's Opera of Robert le Diable, arranged as Duets for the Harp and Piano-forte, by T. LABARRE. Op. 62. (Chappell.) 2. Taglioni's Shael Dance in La Bayadère, arranged as a Rondo by the Same. (Chappell.) VERY little harp music has lately been published, and not any that is original. M. Labarre, as one of the greatest harp-players in Europe, An Opera composed by AUBER, and adapted to the English stage by T. Cooke. The [English] words by J. R. Planche. (D'Almaine.). WE doubt whether any opera since that by Gay ever had such a run as Gustavus the Third, and are convinced that no part of the drama, and very little of the music, will be heard of three years hence. There must, nevertheless, be merit in both, of some kind or other, or the piece could not have been so successfully carried through such a number of representations. Puffing will do a great deal, but puffing alone would not have forced an opera on the stage between sixty and seventy times during the short interval of a few weeks. Much of its success, however and the truth must be told-is attributable to the masquerade scene and the galop! Yes-huge theatres have brought us to this: music, dancing, and spectacle, are the exclusives of the two great national stages. We have now before us nine songs, a duet, and a chorus, from this most popular work, and will not detain the reader longi n communicating to him our opinion of them severally. But first we will say, generally, that the most attractive quality in this music is its vivacity, Auber's characteristic; it never drags, and the hearer has no time to inquire whether what so quickly passes is or is not new, or whether it can stand the test of examination: to keep moving,' and to afford no moment for reflection, are its rules. Auber is writing too fast, and overdrawing his imagination; he is beginning to re-produce himself. Much in Gustarus will bring to recollection Fra Diavolo and Masaniello. He perhaps may say that he is striking while the iron is hot but has he not heard of him who avariciously ripped up the bird that daily deposited golden tributes?-But, to the songs. "When Time hath bereft Thee,' from a subject in the overture, is pleasing and not common. A quaint sharp 5th here will at first seem an error of the engraver. 6 8 The masquerade-song, 'From me you nought shall learn,' is lively, not very new. "I love her, how I love her,' is, deservedly, one of the favorites of the opera. Answer, mighty Sorceress,' is spirited, and well suited to the scene. Love, I abjure thee,' has not an original note to recommend it. 'Monarch of,' dare we write the word?-'hell,' is very dramatic, but only calculated for the stage. The English words to this are very unskilfully set to the music. Peace within the Grave,' quite a drawing-room song, is melodions, graceful, and easy. To read the Stars pretending,' is distinguished by its triteness. The invitation to the Ball' is exceedingly admired: it is sung with great animation by a pretty woman, and its rhythm is distinctly marked, but the striking features in the air have been exhibited more than once before by the composer. The duet, Oh! Gustavus, my noble master,' is the best piece, considered as a composition, of all that we have seen: we will not lished, has not reached us. say heard, for we listened to a finale of a superior order, which, if pubThe duet is for a tenor and base, though treble voices may sing it, but with less effect, we need not say. In the chorus, Long live the King! is an air, one comprehensible by the crowd, trifling, jejune production never was heard on the stage. The wood-cut and this has conferred popularity on it: considered musically, a more of Le Bal Masqué, on the back of it in its published form, is worth ninetenths of the sum that ought to have been the marked price of the whole chorus. FOREIGN MUSICAL REPORT. [IN furnishing our readers with a Monthly Foreign Musical Report, we propose to bring under their observation a general view of the state and progress of the musical art abroad, giving a brief account of the operatic representations and musical occurrences worthy of remark in the various continental towns, and noticing the singers and instrumental virtuosi of established fame, and the débuts of such as may from time to time enter the musical world. We shall also advert to foreign musical productions of novelty and importance, and present such PRAGUE. Des Adler's Horst was brought forward for the first time on our stage, for the benefit of M. F. W. Pixis, director of the orchestra. Its representation was awaited with considerable curiosity, as the opera, though it had failed in Vienna, had been received with much applause at Berlin, Hofoperntheater. The operas lately performed at this theatre have Leipzig, and Dresden; the Prague audience, however, has confirmed been Robert der Teufel, Fra Diavolo, Die beyden Hofmeister (the Two the sentence of the Viennese. The work, though not abounding in original Tutors), Der Lügner und Sein Sohn (the Liar and his Son), Der Bär ideas, is not without merit; the overture is the weakest part of the und der Pascha (the Bear and the Pacha), and Der todte Neffe (the opera. That it was not more successful, was by no means the fault of Dead Nephew), besides the following, in which M. Pezold sustained the the singers; these were Mdlles. Lutzer and Gned, MM. Deska and principal characters, Die Stumme von Portici, Johan von Paris, Fidelio, Strataky: the choruses, however, were inefficient, and the otherwise. Don Juan, Der Barbier von Seville, and Der Vampyr. Mdlle. Elmes excellent orchestra was not altogether blameless on this occasion. made her first attempt as Rosina in Der Barbier with tolerable success; Mr. Wurda, from the Court theatre at Strelitz, has also been well received here. Josephstädter Theater.-At this theatre Mercadante's Eliza und Claudio has been produced in Germany; the parts of Eliza, Sylvia, and Charlotte were well sustained by Mdlles. Segatta, Dielen, and Kratky; MM. Pöckh and Preisinger were also excellent. Die Weisse Frau (La Dame Blanche) and Der Freyschütz have been subsequently given; and still more recently Kapellmeister Conradin Kreutzer's new opera, Das Nachtlager in Grenada, (the Night-quarters in Grenada,) which was produced for the first time on the 14th January, and was very favourably received, the composer being called forward at its conclusion. M. Pöckh acquitted himself admirably in the difficult part of Max, which affords great opportunities for display. The music is characteristic, and contains many very effective pieces. BERLIN. Königliche Theater.-On the birthday of the hereditary prince, Herold's opera Zampa, which had been laid on the shelf, was reproduced with a fresh cast of characters, but failed to create any sensation. Die Stumme von Portici has also been given. Königsstadt Theater. Here the performances of the Crociato (with Dlle. Stetter as Palmide) have given great satisfaction. The other operas have been Semiramide, Anna Bolena, I Capuleti e Montecchi, and Des Adler's Horst (the Eagle's Eyrie); in the latter, which was very successful here, Madame Schodel was much and deservedly applauded. LEIPZIG. The only recent novelty here has been the débût of Mdlle. Bäcker from Mentz, who was well received; she sings with much feeling, has an excellent voice, and is moreover clever as an actress: her greatest hit was in the character of Zerlina in Fra Diavolo. The theatrical productions have of late presented no features of interest; Auber's Falschmünzer (Le Serment, ou les faux Monnoyeurs) and Halévy's Ludovico, newly studied, being the principal attractions. STUTTGART. For a very long period, indeed, since the opening of our Court theatre in the autumn, the performances have consisted of Die Stumme von Portici, Figaro, Oberon, Fidelio, Zampa, Wilhelm Tell, Don Juan, and other stock pieces, varied by the production of only two novelties, namely Morlacchi's Tebaldo ed Isolina, which, after two representations, being received with indifference, was laid aside, and an operetta called Lumpaci Vagabundus, by M. W. Müller: in the former, the meritorious exertions of Mesdames Haus and Wallbach were not wanting, but they were of no avail; the music of the latter is very pleasing-it was well received. Besides the singers forming the company of our opera, we have had for a short time M. Rössner, a tenor singer, formerly of the Hesse Cassel theatre, but now engaged in Darmstadt. He has appeared as Otello and Almaviva. His voice is tolerably strong, and particularly clear in the upper notes of his falsetto, which blend with his chest-voice in a satisfactory and pleasing manner. We anticipate the speedy production of Meyerbeer's Robert die Teufel; and Kapellmeister Lindpaintner has composed a new opera, Die Freunde (the Friend), which will be studied forthwith. DRESDEN. The Italian Opera here is much frequented, Madame Schroeder-Devrient being the grand attraction. Her most successful character is Romeo in Bellini's Capuleti e Montecchi; and, when enthusiastically called forward, she never fails to bring Mdlle. Schneider (Giulietta) to share the honour with her. Among the various artists who have lately visited us, none have created any sensation except Mdlle. Hill of the Frankfort National Theatre; she gave six performances, three in the Italian, and three in the German opera. Mdlle. Veltheim, of the Dresden theatre, has appeared here in three characters, Rhezia in Oberon, Donna Anna and Constanza in Die Entführung aus dem Serail (the Seraglio). Her performances gave satisfaction-had she been more sparing of embellishments in the style of the old school, they would have been admirable. Otello and Fra Diavolo have been given, with Mdlle Lützer as Desdemona and Zerlina. This lady has also appeared as Giulietta in I Capuleti e Montecchi, Madame Podhorsky taking the part of Romeo. THE THEATRES. KING'S THEATRE. THIS place should, for the present at least, not be called the Opera, DRURY-LANE AND COVENT-GARDEN THEATRES. MR. BUNN is pursuing a most successful career, for which he is indebted to his activity and penetration. He at length, but not till losses had taught him wisdom, discovered the true tendency of the public taste, which was in favour of novelty, and by importing from our neighbours a better commodity than could be furnished here, has pleased the town, and filled his treasury in a manner that must have astonished the strong-box of the theatres, which has long been unused to see the glorious engraving on bank paper, and hear the delightful music of chinking gold. After the 70th (or thereabouts) performance of Auber's Gustavus, it is too late to speak of it here; and the Minister and the Mercer, St. George and the Dragon, and The Revolt of the Harem, though all excellent in their way, are not musical pieces, therefore do not come under our notice. LONDON: CHARLES KNIGHT, 22, LUDGATE-STREET. PRINTED BY WILLIAM CLOWES, DUKE STREET, LAMBETH. |