The Musical Convention.

Yet

The gathering is scarcely at its climax, while we write; but it will be all over by the time this reaches our subscribers. The time consumed in frequent attendance (yet by no means constant) on the exercises, with the excitement and confusion of so much novelty and promiscuity, hardly allows of a calm, clear-headed, comprehensive survey and estimate of the whole affair. every step so far has been full of suggestion. We always find it so with these "Conventions," howsoever and by whomsoever conducted. They revive all the questions and speculations about the progress of music in this country; they perpetually renew the wonder, with which one contemplates this strange, prodigious Yankee activity in the manufacture, compilation, adaptation or perversion of loads upon loads of books of psalmody, glees, anthems, organ voluntaries and elementary treatises, to feed the not over-squeamish, nor even delicate appetite for something more to sing, which they create throughout the country. They force upon one, again and again, the question whether all this musical ambition, which has developed itself in so many great schools or parties, that love to "sit in convention assembled," really points to a day when we shall be truly a musical people.

These great and general questions mingle themselves so much with the special observations and criticisms that occur in watching the movement day by day of such a gathering, as to make us wish to put the whole thing off at a good distance from us, before we can trust ourselves to see it in its true relations and seize its whole significance. Nevertheless we must remember that we are an editor, and begin, as we are in mediis rebus; simply recording for the present some notes of what we have witnessed, with such chance comments as they may suggest.

There

1. NUMBERS AND ORGANIZATION. The number in attendance it has been hard to estimate, because it has varied very much from time to time, and because at all times one was puzzled to distinguish the "floating population,"consisting of various honorary or ex-members of former classes, musical professors and friends of the conductors, clergymen interested in music, choristers of the city, editors and critics, &c., &c. - from the constant nucleus of the Class. was always a clear centre and focus of business in the crowd, to be sure; but actual membership seemed to be a thing of more or less, graduated from that centre outwards to the curious and critical on-lookers on the outskirts, buzzing and speculating by the doors and in the lobbies. At no time has the number, both of participants and "lookers on in Venice" come so near to overflowing the Melodeon, as we were led last week to anticipate; and yet it has steadily increased from day to day. Some exercises have been less attractive than others; some are sure to draw many of the bystanders into the ranks of active participants; while others as surely create a reflux tide. A financial statement from the managers, showing how many persons have bought tickets to the course, would alone show the number really enlisted for the war; but that is a matter of their private business, which we do not know that they are under any obligation to make public. The largest number that we have seen at any one time engaged in an exercise, could not have been far from four hundred, -re

cruited possibly by an extra hundred at the

concerts.

This fluctuation of numbers has naturally involved more or less looseness of organization, and lack of unity, promptness and progressive method. It was plain to see that the ten days' period was not economized to the best advantage; teachers and all of course felt it; at the same time it would require a great head, great means and great preparation to secure any such ideal economy. It is really a great work to conduct through one of these conventions; and if at first we were continually impressed by a sense of lack of sufficient organization; if the materials appeared not to have been carefully enough "cut and dried" beforehand; if many times the thing seemed to hang fire, all parties being somewhat at a loss what to undertake next, and looking wistfully about for some volunteer singer, or organist, or ready lecturer to step in and play the part of a good Providence; if too many gaps had to be filled up with "talking against time" and divers amiable apologetic twaddle; — yet after all, our wonder was that so much good was in the long run evolved, by one means or another, if only by the mere magnetic contact of meeting so much together, with minds addressed towards a common end. Considering there was no bond or pledge of constancy on the part of the pupils, except free attraction, and that each came and went as inclination prompted, it was wonderful how far a very simple organization went. Each day had its programme, which was pretty regularly followed, wisely leaving room for chance varieties and opportunities of listening to artists and specimens of various kinds of music, which had to be taken as they came.

On the whole, we find ourselves arriving at the same conclusion, that we have at all of the Conventions before: namely, that, although there has been much that was valuable in the way of direct instruction by the Professors, yet the incidental advantages of such occasions are their greatest recommendation. It is like going to College. The great majority of graduates, when asked what they have gained by College life, will tell you that they are conscious of more benefit received from simply living in the academic atmosphere, with young and ardent fellows of like intellectual aspirations with themselves, and amid the inspiring circumstances of the place, than from the direct teaching of the text-book and professor. Stimulus to the musical desire, the musical curiosity, the musical faculty, — stimulus from the meeting of many active minds, and the flowing into the vortex thus created of much of the surrounding musical element (singers, players, bands, &c., volunteering specimens of their skill and of the works of composers known too merely by their names): this is the vital principle and spring of influence in musical conventions; this is what, by an instinctive calculation, guaranties the country chorister and singingteacher that he will not lose his week spent in attendance on these meetings, whatever the teaching, and whoever the conductor.

eight till ten o'clock, have been devoted to a course of lessons in Harmony and Thorough Bass, followed by another in the simple Rudiments of Reading, Writing, and Singing Music, (more especially with reference to the art of teaching them to others), by Mr. A. N. JOHNSON. Not having been able to command these hours, we can say nothing from personal observation. But in confirmation of our general remark above it may be said, that year by year the interest of the classes, in these dry exercises, once the origin and substance of the whole thing, has been on the decrease. It is not this mainly that they come for; the rudiments have got pretty generally spread; the novelty of the matter is exhausted; and this feature of the musico-educational session has shrunk into a less space than it formerly occupied, to make room for more practice and more hearing of the live substance of music itself. Yet there are those, who need and who come to learn these things, and the programme would be incomplete without them. The other exercises of the day, however, show that the great majority of the rank and file in these convention classes are already readers of music of course with limitations.

3. GLEE AND CHORUS PRACTICE. This has occupied the hours from 10 to 11 A. M. and from 3 to 4 P. M.; the whole class, under the direction of Mr. L. H. SOUTHARD, (one of the most talented, accomplished and sound among our young native musicians,) singing four-part pieces from a new collection just issued by Messrs. Baker and Southard, under the title of "Union Glee Book." We dread every new book added to the stock of native manufacture; since commonly musical genius and even taste have had much less to do with such productions, than a shrewd eye to mere money gain. It was encouraging, therefore, to hear three or four pieces from this book, original compositions, too, which alone were enough to save any book. One piece, by Mr. Southard, to words from Ossian ("Where thou, a Stone, dost moulder down, and lose thee in the moss of years, there shall the traveller, whistling, pass," &c.,) compares well in real beauty, dignity and contrapuntal character of style with ary young American effort at composition, which we now recall. It is wrought up in a manner worthy of Dr. Callcott; and when it comes to the triumphant portion of the words: "But Fingal shall be clothed with fame," a clear, manly, and vigorous fugue sets in and proceeds with unflagging energy to the close. This piece speaks well for the original force, as well as true, persevering classical study, of the young author. And it spoke well for the growth of musical perception in the general mass of the convention, that they knew that it was good. A light little Barcarolle of Mr. Southard's also, in a minor key, and somewhat Mendelssohnian spirit, had a pleasing effect. There was also rehearsed a sort of vocal Notturno (also by the same) with an obligato tenor melody, accompanied in sustained vowel harmonies by the whole chorus, in which there were beautiful and ingenious effects; but these were scarcely to be brought out without long practice. Indeed it was rather an instrumental than a vocal piece. A bright and jovial Glee, by Mr. Baker, also told agreeably upon the audience. These pieces were accompanied by Mr. BUTLER at the organ, and by Mr. LEAVENS and Mr. FITZ, at a grand and a square

piano- not a good combination in any case, but less offensive here than in some other kinds of music of which we have to speak. The practice was thoroughly conducted, stopping frequently to reiterate a passage until the composer-conductor's idea was satisfied; and one could not listen two or three days in succession, without feeling that much had actually been learned. Indeed these conventions, viewed as singing meetings, always seem like a daily growth from chaos into some approach to order.

4. CULTIVATION OF THE VOICE. This exercise, under the conduct of Mr. B. F. BAKER, occupied the hour from eleven to twelve, and seemed to be always well attended. The art of delivering the voice, of producing pure, musical tone, was one of too great intrinsic interest to all our native singers, to be slighted. Of course, in these few brief opportunities, the teacher could do little more than point out a few of the most essential principles and points of a true method, prescribing the model, characterizing in contrast (which in the nature of the case involved caricaturing) the prevailing false habits, and leading the whole choir to practice each point over and over together, criticizing and correcting until it sounded right. Like all true teachers of the voice, he reduced the great mysteries of the art to a few, (we might almost say) to one very little formula-just a couple of 4-4 measures, which stood almost always written on the black-board, filled by one long note, with the sign of the swell and dimuendo over it. In this one art of properly commencing, swelling, diminishing and ending one tone, lies the first principle and secret of all graceful delivery of the voice; it gives the singer from the first a model, an ideal, as it were in the of that ever undulating line of beauty which germ, should mark equally the phrase, the the passage, whole composition. It was delightful to contrast the effect (in full unison chorus) of this one lesson thoroughly practised, with the first coarse and confused attempts. Simply raising the pitch of the second half of the formula one note introduced another important lesson, that of the portamento, or art of carrying the voice from one note to another. How many bad singers, who want neither execution nor feeling, would quite revolutionize their entire style, (or more properly, get style, where they had none), by radically attending to these two seemingly little, but really very great points!—The difference of the legato and staccato manners, the nature of vowel and consonant sounds, &c., &c., were among the points explained and illustrated. But we were only an occasional witness, and cannot detail the whole

course.

5. ORGAN-PLAYING.

A pleasant episode here followed, at least on several days. We were glad to see partly realized a wish which we have long had with regard to these conventions; namely, that an hour, more or less, should be consecrated each day to listening to specimens of organ-playing, in the true forms of organ music. This sublime instrument is notoriously trifled with and desecrated in most of the churches in our land. In the country, especially, it is seldom known what organ-playing is. The true, the lofty contrapuntal style, the real organ style, which, if not always fugue, has always the fugue principle, or fugue spirit in it, is often so much Greek to the uninitiated at first hearing. But a few hearings prepare the mind

to feel, if not to understand its meaning; and the style is sure to grow upon one with a wondrous power. Here then is the opportunity, while singers are assembled from all parts of the country for so many days, to call in all the principal organists (resident or visitors) to give in turn some specimens of their best skill in the best music.

How far this was done on the present occasion we must tell next week, for our space is exhausted. The Concerts and some other episodes and exercises, also, still await their turn of mention.

Musical Intelligence.

Local.

MME. WIEDMANN, prima donna from the operas at New Orleans and Paris, is in Boston, with Sig. GENIBREL, primo basso, and Sig. C. BASSINI, the violinist, whose performance in New York won high approval. They give a concert next week. The audience at the Convention Thursday evening seemed delighted with a touch of their quality. The lady is plainly of the Pasta and Parodi school, vastly superior to Parodi - of the impassioned, intense order, needing the stage with room for action, but with a glorious mezzo soprano or contralto voice. There was genuine power in all she did, and we doubt if we have yet had so good a specimen of this French-Italian School. No room now for more.

OPERA HOUSE. The current report, which had gone the round of the newspapers uncontradicted, and which we copied last week, to the effect that the estate back of the Melodeon had been purchased for this object, turns out to be incorrect. The Gas company hold it at too high a price.

THE OPENING. We understand that all the principal musical societies in Boston have volunteered to take part in a grand opening concert or festival of the new Music Hall. These are, the Handel and Haydn Society, the Musical Education Society, the Musical Fund Society, the German "Maenner-Chor," under Mr. Kreissmann, and (as having established a pretty kindred relationship with Boston, by repeated and long visits) the Germania Musical Society. The best available solo talent, at that time in the country, will also probably be engaged. We hope that it will be made more than one concert; that it will be made a festival, with a morning, afternoon and evening performance; one being oratorio, another instrumental, in the great form of symphony, &c.; and the third miscellaneous. Such an announcement would draw many to the city and redound to the treasury of the Music Hall,-perhaps go far towards furnishing the means for a first-class organ, which seems all-essential to the completeness of its character, as the Music Hall of Boston.

TREMONT TEMPLE is rebuilding rapidly. It is said (we know not with what authority) that it also will be finished in November. The great hall, whose floor is to cover the entire third story of the building, will, it is said, equal in area the Boston Music Hall. A superb organ, on a larger scale than any in this country, is already commenced for it, at the factory of the Messrs. Hook, in this city.

MUSICAL FUND SOCIETY. At a meeting held on Friday, of last week, Mr. AUGUST FRIES was chosen conductor, and Mr. RIBAS substitute, in place of Mr. GEORGE J. WEBB, whose other cares and duties compel him to resign this. He still continues, we understand, to serve as President. The rehearsals will commence next month, and the new music selected in Europe by Mr. Fries, to supply the place of that lost in the Tremont Temple, is already on its way.

MR. HELMSMÜLLER'S connection with the "Germania Society" has ceased. A gentleman from Baltimore succeeds him as agent.

England.

THE FESTIVALS. The London season, of Operas, Chamber Concerts, Philharmonics, &c., is over; only one novelty remained-Jullien's new opera at the Royal Italian-" and then" (says the Musical World) “away, not to the moors, but to the musical festivals." These will about consume the month of September; three of

them, giants, treading one close upon the heels of another. First and greatest comes the

I. BIRMINGHAM FESTIVAL, on the 7th, 8th, 9th and 10th of September. The principal singers engaged are: "Madame Viardot Garcia, Madame Castellan, Miss Dolby, Mlle. Anna Zerr, Mlle. Bertrandi, Miss M. Williams, and Madame Clara Novello; Signor Tamberlik, Mr. Lockey, Mr. T, Williams, and Mr. Sims Reeves; Herr Formes, Mr. Weiss, Signor Polonini, and Signor Belletti. The principal solo performers are:-Violin, M. Sainton; violoncello, Signor Piatti; contrabasso, Signor Bottesini."

The programmes are of the solid, mountainous order, which it would frighten anybody but John Bull to think of trying to digest. Five heavy oratorios in four days! In the first two days Mendelssohn occupies almost the whole field, especially two of his posthumous works, here given for the first time. The following is an outline.

neous concert.

Wednesday morning-Mendelssohn's Christus, a motett of Dr. Wesley, and the Creation.

Wednesday evening-Miscellaneous concert, including the finale to Loreley, by Mendelssohn.

Thursday morning-The Messiah.

Thursday evening-Beethoven's Choral Symphony, and a miscellaneous concert.

Friday morning-Samson, which has never been performed at any Birmingham Musical Festival in a complete form.

Mr. Costa will be conductor. The Chorus will consist of 80 sopranos, 80 altos, 80 tenors and 84 basses; the orchestra, of 28 first violins (Sainton and Blagrove being principals,) 26 second violins, 18 tenors, 19 violoncellos (including Piatti, solo,) 17 double-basses (including Bottesini, solo,) 4 flutes, 4 oboes, 4 clarinets, 4 bassoons, 4 trumpets, 4 horns, 3 trombones, 1 ophicleide, 2 serpents, drums, triangle &c.

2. HEREFORD FESTIVAL. The "Festival of the three Choirs" of Worcester, Hereford and Gloucester, will commence on Monday, September 13th, and close on Friday, the 17th. We copy from the Times of August 3d:

"There will be as usual four performances of sacred music at the Cathedral, and three evening concerts at the Shire-hall. On Tuesday morning (the 14th) there will be, as customary, full cathedral service and a sermon. The service will open with the 100th Psalm, old version (Luther,) the preces, responses, and chant will all be Tallis's, and the Te Deum, as usual, that composed by Handel for the Dettingen victory. The anthem se lected is one by the organist of Hereford Cathedral and the conductor of the festival, Mr. G. Townsend Smith, "Behold God is mighty;" and before the sermon an anthem by Mendelssohn, from Psalm 95, O come let us worship,' will be given. Dr. Croft's Cry aloud and shout will follow the sermon. On Wednesday morning Haydn's Creation, will be given entire; the principal solo parts by the principal singers, Clara Novello, Miss Williams, Mrs. Endersohn, Herr Formes, Mr. Sims Reeves, Mr. Lockey, and Mr. Phillips. Mr. Sims Reeves will also sing the recitative and air, Sound an alarm,' from Judas Maccabeus; and the Kyrie Eleison, the Gloria, Sanctus, and Benedictus, from Beethoven's service in C will close the second morning's performance of sacred music. On Thursday morning there will be a double attraction in two oratorios not very frequently performed at these festivals, viz., Mendelssohn's St Paul and Dr. Spohr's Last Judgment. Friday, the last morning, will be devoted as usual to the Messiah. The evening concerts at the Shire-hall present no great novelty, if we except the introduction of glees and madrigals, which of late, especially since the establishment of the English Glee and Madrigal Union,' have become more popular and fashionable. All three of the concerts are Miscellaneous,' comprising excerpta from the repertoires of the old opera and instrumental composers, Spohr, Mozart, Bellini, Weber, Donizetti, Beethoven, &c., with some bits from more modern writers; glees by Webb, Sir H. Bishop, the Earl of Mornington, Dr. Arne and Stevens; and madrigals by Welbys and Macfarren. The principal singers have also songs allotted to them. In the secular instrumental department we have the overtures to Mozart's Zauberflöte, Weber's Oberon, a concert overture in A minor (MS.), by A. Mellor, and Rossini's Guillaume Tell. Beethoven's Symphony in D will be given on the Wednesday evening, and a symphony in A major by Mendelssohn will open Thursday evening's performances. As usual at Hereford there will be a ball after the concerts on Tuesday and Thursday evenings. The band is from the usual London sources, under the leadership of Mr. H. Blagrove, and the chorus is selected from the Philharmonic Concerts, and the cathedral choirs and choral societies of Hereford, Gloucester and Worcester."

3. NORWICH FESTIVAL. Sept. 21st, 22d, 23d and 24th. This was postponed last year on account of the absence in America of M. Jules Benedict, who has usually con

ments.

ducted it. This year again he directs all the arrangeHe has engaged as principal singers: Madame Viardot, Madame Fiorentini, Misses Louisa Pyne, Dolby, and Alleyne; Messrs. Sims Reeves, Lockey, and Weiss, Signor Gardoni, Signor Belletti, and Herr Formes.

The programme promises a great amount of novelty. There will be two new English oratorios; one by Dr. Bexfield, and one by Mr. Pierson, who formerly held the chair as Professor of Music at the University of Edinburgh.

The evening concerts will comprise selections from Spohr's Faust, Macfarren's Charles the Second, Meyerbeer's Prophète, Benedict's Minnesinger, the finale of Mendelssohn's unfinished opera, Loreley, and the Midsummer Night's Dream of the same composer, with Mrs. Fanny Kemble to read the text.

The orchestra and chorus will be on the same magnificent scale as is usual at the Norwich Festival. More than one hundred of the executants have been selected from London. The soloists will be Sainton, Blagrove, and Bottesini.

ROYAL ITALIAN OPERA. Among the last performances were the Puritani and Anna Bolena, with Grisi and Mario in each. In the Percy of the latter piece, Mario is said (by the Musical World) to have surpassed Rubini, and that "in spite of a certain prodigality in the use of the falsetto " in the cavatina: Vivi tu. Marini's Henry VIII. was "st udied and careful, but somewhat wanting in the necessary weight and dignity."

Jullien's first lyric work: Pietro il Grande, was announced for August 7th. Great was the curiosity to hear; the singers delighted with their parts, and success predicted by the rehearsal-favored cognoscenti. We find the following account of the plot:

"The piece is divided into three acts. In act one, Peter and his suite are working in the dockyard of Zaandam, in Holland. They are all disguised. Among the women who supply the workmen with provisions is Catherine, who falls in love with Peter. Catherine has

a sweetheart, whom she makes jealous by her seeming preference to Peter. This gives rise to a row,' which leads to an attempt on the part of the sweetheart to kill Peter when all have retired, but Catherine steps in and saves his life. Subsequently, Peter's incognito is disclosed, when he sets sail for Russia, leaving poor Catherine in despair.

"In the second act-several years subsequent to the first, according to history- the scene takes place before the battle of Pultava, or Pultowa. The Russian and Swedish armies are encamped within sight of each other. Peter, secure in his position, gives a grand feast in his tent. In the midst of their revelling, Catherine breaks into their tent, and informs them that the Swedish army is being reinforced by an immense body of Turkish troops, and that the two armies together are marching upon the Russian camp. At Catherine's instigation, Peter gives her jewels of price, with which she hastens to the Grand Vizier, and induces him, by these presents and her own melting words, to draw off his force. The Swedes alone attack the Russians, and are defeated with great loss. Thus Catherine saves Peter and his entire army from destruction.

"In act the third, we are in the Kremlin, at Moscow. It is night, and a band of conspirators steal into the silent and deserted street, and there swear to assassinate Peter that night. Heading the conspirators is Rossomak, Hetman of the Cossacks the Iago of the piece - who hates Peter for several reasons, and is banished by him to Siberia. The conspirators have escaped from the mines of Siberia, and have come to Moscow to take revenge on Peter for his fancied neglect and severities. Time and circumstances favor their attempt. It is the night when, according to royal Russian usage, the Tzar has to select his empress from the daughters of the Boyars or noblemen assembled on the occasion. (In this incident, Mr. Desmond Ryan is borne out by history. After such fashion did Alexis, father of Peter, choose his Tzarina). The Royal Palace is thrown open, and all visitors admitted. So far, so good for the assassins. While they take the oath of murder in the street, they are overheard. Catherine, in the hope of again seeing Peter, has journeyed to Moscow, and has just entered within the Kremlin, and in sight of the Palace, when she falls exhausted on the steps of a church door, and hearing footsteps, conceals herself behind a pillar. In this position she learns the designs of the conspirators; and when they depart, she hastens to the palace, gains admission to Peter, and apprises him of his danger. Precautions are carefully taken, by which the assassins are drawn into their own net and entrapped. Peter, who loves 'evenhanded justice,' deals with Rossomak himself, and kills him with the weapon directed against his own life. Thus Peter, for the third time, is saved by Catherine, and acknowledging the interposition of Providence in her person, he selects her for his imperial partner.

"The author of the book has violated history to the utmost," &c.

"The following will be the cast of the principals:

Peter, Tamberlik; Menzikoff, Stigelli; Galitzin, Soldi; Lefort, Tagliafico; Sherematoff, Polonini; Bauer, Luigi Mei; Hetman Rossomak, Formes; Zeinberg, Rommi; and Catherina, Anna Zerr.

"Upon the scenery, decorations, and appointments, the management has been more lavish than ever. The battle scene, in the second act, we understand, will be one of the most gorgeous and magnificent spectacles ever presented on any stage; while the imperial throne-room, in the last act, with the assemblage of courtiers, nobles, ladies, pages, officers of all hues and climes, &c., &c., will be no less striking and splendid.

"The ballet constitutes an important item in Jullien's opera. In the first act a grand fete takes place in the dockyard of Zaandam, in which there are some exceedingly charming and characteristic dances; and in the last scene, in the palace, there is introduced the Mazurka, Polonaise, and dances with choruses."

HER MAJESTY's. Sontag, it appears, declines singing twelve nights, as announced, before visiting America. Lumley brings a suit against her in Paris; but the Countess pleads that certain monies had not been prepaid at the time Lumley promised.

Among the recent performances, the appearance of Mme. Charton in the Sonnambula has excited most attention. The Athenæum joins in the general praise of this lady's performances in French comic opera at the St. James's Theatre:

"There, the agreeable and caressing tones of her voice, the expressiveness and pretty grace of her personations, made want of power unfelt and want of finish forgotten. But the requirements of Bellini are not more different from those of Auber and Thomas than are the attributes respectively demanded by Mr. Lumley's and by Mr. Mitchell's theatres; and we are sorry that if the clever and charming lady must exchange the small French for the great Italian stage, she should have ventured her first experiment by attempting La Sonnambula in a theatre where Pasta, Persiani, Lind and Sontag have been the Aminas before her, and without apparently having prepared herself for change of occupation by practice.Her voice has not attained the length and largeness of delivery demanded by Italian cantabile: her execution is not sufficiently clear or accentuated to deliver the bravura passages belonging to the two great airs which the part contains. Want of stamen and a smallness were to be felt throughout Mme. Charton's treatment of the music, somewhat at variance with her true and unaffected conception of the simplicity, tenderness and distress of the character. Her Italian, too, is curiously nipped and pinched, and every vowel is mystified. In short, Madame Charton has a long course of up-hill vocal labor to go through, which she may not prove physically qualified to sustain, before she can maintain a prominent place on the Italian stage. Yet, however obviously this be needed, a personal charm and (to repeat our first epithet) pleasantness kept the new Amina in the good graces of her audience.'

MORE POSTHUMOUS WORKS OF MENDELSSOHN.— Chorley, in the Athenæum, gives a "glimpse into the form and nature" of the finished portions of Mendelssohn's third oratorio: "Christus;" viz. Recitatives, Trio and Choruses. Op. 97, (of the posthumous works, No. 26.) These have been published in London, with an English version by W. Bartholomew, and are to be brought out (as we have noted above) at the Birmingham Festival. The critic thinks it due to the composer's memory to believe that, in the finished state of the "Christus," he would have altered several of these movements, as he did in “Elijah" even after its public performance in Birmingham. He would give "the benefit of a doubt" to a collection of scattered pieces, some of which, he says, too closely reproduce effects already indicated in "Elijah" and "St. Paul."

"On the other hand, they evince that, as he proceeded, Mendelssohn was increasingly anxious for pure and healthy simplicity of structure. The trio for the three male voices, Say, where is he born?' is capital as a piece of tuneable, manly, and natural part-writing. Very sweet and serene, too, with great dignity of line, (as the painters might say,) is the opening of the chorus • There shall be a star from Jacob come forth.' Another point to be noticed of great power and beauty is, the unisonal close of the chorus He stirreth up the Jews.' Bold, massive, and full of ruthless power is the fragment 'We have a sacred law.' As a whole, the short choruses, interspersed with recitative, in what may be called the trial scene before Pilate, might, it is possible, have been restudied by Mendelssohn as too fragmentary in effect, -they not being mere ejaculations and arid responses binding together the dialogue, and working it up to some explosion, (an effect well understood by him, as the contest between Elijah and the Priests of Baal testifies,) so much as short, separate movements, each one of which tantalizes the ear by a new musical subject, susceptible of development. Perhaps Mendelssohn's extreme veneration for Sebastian Bach may have here taken the form of an unconscious adoption of the manner displayed in the Passions' Musik."

"About one of these choruses there will be no dispute: we allude to the movement Daughters of Israel,' in which the tone of lament without lacrymose languor is sustained with a simple pathos and a refined art that can hardly be sufficiently studied - that cannot be too much admired. We should imagine that this must have been the produce of one of those happiest moments of inspiration when the thought, Minerva-like, springs forth 'with all its armor on,' and the idea and its expression are felt and are uttered as one. The resumption of the theme by the male singers-the wailing motion of the accompaniment, (pp. 36-7) so independent of the voices, yet so agreed with them-may be cited as touches of the master in a movement throughout masterly. When we compare these few pages- -so simple of execution, so immediate in their effect, yet to the structure of which so much of the highest skill has been brought in utterance of the highest poetry-to some of the furious and vehement and scarcely accessible monstrosities of what is called the new school, it seems as if we were dealing with things that had no common purpose-no common meaning -no common language."

2. The other publication is: Six Songs, with Pianoforte accompaniment. op. 99. (Posthumous, No. 28,) with English version by Bartholemew. These are pronounced fully worthy of their composer; but the critic justly says: "They must be sung with the German-not the English-words. Indeed, as a body, Mendelssohn's songs are too largely shut up from English singers by want of taste in the translated text."

Germany.

VIENNA. The anniversary of Gluck's birth was celebrated here on the 4th inst. Some few years since, his admirers restored the monument erected to his memory in the cemetery of Mazleindorf. A small marble tablet, let into the masonry of the original monument, bears the following inscription:

"Here lies a good and loyal German-a zealous Christian, and a faithful husband-the Chevalier CHRISTOPHER GLUCK, a great master of the sublime Art of Music. He died on the 15th of November, 1787."

Verdi is to compose an opera for the next season of the Theatre Italien.-Leopold de Meyer has got back here; he will pass some time hydropathically at Græfenberg, and return to pass the next winter at Paris.In the autumn, Udine, a new opera by M. Swoff, aid-decamp of the Emperor of Russia, director of the imperial chapel and author of the National Hymn, will be produced at the court theatre.A mass, by the chapelmaster Assmayer, was performed on the 18th July, the anniversary of the foundation of the Academy of Music. HAMBURG. Mme. Otto Goldschmidt and husband have just left for the baths of Scheveningen, in Holland. -Pischek has made his appearance in Une nuit a Grenade.

BRUNSWICK. The Musical Festival took place on the 1st and 4th of July. Among other things, Mendelssohn's "Elijah" and Beethoven's choral symphony were performed. The rumor, copied into the English papers, that Mme. Goldschmidt was to sing, proves to have been incorrect.

Italy.

FLORENCE. Rossini presided recently over a performance of his admirable choruses: "Faith, Hope and Charity," in a concert of the Philharmonic Society. (These pieces are written in three parts for female voices.) Several illustrious amateurs took part, as the princess Poniatowski and the countess Orsini.

It is said that Rossini was never in better health than he is at present. The following circumstance connected with the great mäestro is reported as having recently occurred in Florence. For the last two years, the Sultan, who is exceedingly fond of music, has on several occasions offered Rossini fabulous sums of money, besides all sorts of Turkish decorations and orders of merit, on condition that he would compose him some lyrical work or other. As Rossini never returned any answer, his Highness determined to send one of the attaches of the Embassy with strict orders not to leave him without having obtained something for the theatre at Constantinople. The attache accordingly visited Rossini, who received him with his accustomed politeness, and begged him to wait a few seconds. The composer then went up stairs to his study. About an hour afterwards he came down again with a manuscript, hardly dry, in his hand. "Will you be kind enough to give that to the Sultan?" said he to the attaché. "What is the price?" asked the Nothing-I am only too happy that I am able to do anything that can please his Highness." Knowing the Sultan's taste for military music, Rossini had composed a new march.-London Musical World.

latter.

46

MILAN. The young mäestro, Emanuele Muzzio, is

writing two operas, one entitled Claudia for next Spring, and the other for the autumn. In the autumn, too, will be represented at the theatre Canobiana the Giovanna la Pazza of the same composer, who is praised by the Musical Gazette of Milan as a pupil of Verdi.-La Nina Pazza, by Coppola, has been revived with great satisfaction.The French tenor, Bordas, is exciting much interest here.

NAPLES. Cammarano, the opera poet, died on the 16th of July. He had only three days before sent Verdi his last libretto.

TRIESTE. Ernani has been filling the house night after night. The tenor, Pellegrini, and the prima donna Ruggero Antoniali are spoken of as of the first order of interpreters of Verdi's music.

FABRIANO. The prima donna Scotta, the baritone Fiori, and the tenor Ferrari Stella, keep up an enthusiasm in 1 Lombardi and Louisa Miller.-Still always Verdi!

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[Translated for this Journal, from the French of P. SCUDO.]

The Great Contralto Singers-Alboni.

The female contralto, as a solo voice, first rose to importance with the music of ROSSINI. The GAFORINI, the MALANOTTE, the MARCOLINI, the MARIANI, Mme. PISARONI, Mme. PASTA and Mme. MALIBRAN:- these are the principal representatives of that group of contralti, which exercised so remarkable an influence upon Rossini's talent. To this group too ALBONI must be added.

Of these great singers, some personify the serious, others the comic side of the Italian genius. And some there are so marvellously endowed, that they succeed in both kinds. The first of them all, in chronological order, the GAFORINI, excelled particularly in the buffo music. Elisabeta Gaforini was one of the most charming virtuosos of the commencement of the ninetenth century. She shone in Italy, and in the principal cities of Europe, through nearly the period from 1796 to 1815. She possessed a very supple and very sonorous contralto voice, which went up to F, and down to A. She was particularly admired in the Dama Soldata of Federici, in the Ser Marc' Antonio of Pavesi, and in Il Ciabatino.

The name of ADELAIDE MALANOTTE is consecrated by the memory of an immortal masterpiece. Rossini found the Malanotte, in 1813, at Venice, where she had come recommended by some successes obtained in public concerts and in secondary theatres. He wrote for her the

NO. 21.

master-pieces of Rossini. BENEDETTA-ROSAMONDA PISARONI was born at Piacenza in 1793. After learning music under the direction of an obscure master of her native city, she took lessons in singing of the famous Marchesi, who taught her the principles of the beautiful school of the eighteenth century. When she made her début, at the age of eighteen, in the rôles of the Griselda and the Camilla of Paër, Mme. Pisaroni had a high soprano voice. After a severe illness which she had towards the year 1813, she lost several notes in the upper register, while the low tones acquired a powerful and unexpected Then she found herself obliged to

in the beautiful duo between Tancredi and Argerio, the Malanotte, brandishing her sword, launched forth that incomparable phrase: Il vivo lampo di questa spada! she wrung from the whole

house cries and bursts of enthusiasm. Little did they foresee the sad end in reserve for her. After some years of triumph and intoxication, the marvellous cantatrice, for whom was composed the air: Di tanti palpiti e di tanti pene, . . that hymn of youth and of love which she probably inspired, the Malanotte died forsaken and almost crazy at the age of forty-seven years.

The Italian buffo music found in MARIETTA MARCOLINI, as in the Gaforini, a worthy and a charming interpreter. Marietta Marcolini began to be distinguished as a singer about 1805. Her beautiful contralto voice, which at the furthest went only to F sharp, was of a surprising flexibility. Rossini first had occasion to know her in 1811, at Bologna, where, at the age of nineteen, he wrote for her the Equivoco Stravagante. In 1812 he found her again at Milan, and composed for her la Pietra del Paragone; then, in 1813, l'Italiana in Algeri at Venice, in the same year and same city which saw the birth of his Tancredi. The Marcolini was a delicious singer in the opera buffa. She had a brio, a transporting fervor, an amiable and facile gaiety, which radiated like the light and became contagious. The arie di bravura, written to her order, which terminate la Pietra del Paragone, and l' Italiana, remain like sweet witnesses to the admirable flexibility of her voice and to the happy ascendency which she knew how to acquire over the genius of the first dramatic composer of our time.

A wholly different vocation summoned the PISARONI to the interpretation of the tragic

sonorousness.

came one of the greatest singers of her time. Mme. Pisaroni redeemed the inequality of her voice by a grandiose and portamento style, which recalled the large manner of Pachierotti and Guadagni (male sopranos in the latter part of the eighteenth century.) She came to Paris in 1827, and made her début in the rôle of Arsace in Semiramide. The whole house was transported with enthusiasm, at hearing Mme. Pisaroni exclaim with a formidable voice: Eccomi in Babilonia! She was equally admirable in the duet with Assur: E dunque vero, audace? and in that of the second act between Semiramis and Arsace: Eh! ben a te ferisci? She proved to Mme. MALIBRAN that youth, voice, energy, and even the suddennesses of genius cannot always compete advantageously against a style simple, grand and true. Rossini wrote for Mme. Pisaroni the part of Malcolm in la Donna del Lago, and afterwards the part of Ricciardo in Ricciardo et Zoraïde.

It was also a talent wonderfully fitted to translate the serious creations of Rossini, which was admired in Judith Negri, so celebrated under the name of Mme. PASTA. Born at Como of an Israelite family, in 1798, she at first studied music in a little school very obscure, and was then admitted to the Conservatory of Milan, at that time under the direction of Asioli. Her thick, unequal, muffled mezzo-soprano voice was with great difficulty rendered supple, and Mme. Pasta never was completely mistress of this rebellious organ. Her first trial was at an amateur theatre, and her next at the theatre in Brescia. She came to Paris for the first time in 1816, and here passed entirely without recognition. It was only at the beginning of the year 1822 that the reputation of Mme. Pasta spread in Europe. Handsome, intel