Gluck in England. Christoph Willibald Ritter von Gluck. Born, July 2, 1714: Died, November 15, 1787 Author(s): F. G. E. Source: The Musical Times, Vol. 49, No. 786 (Aug. 1, 1908), pp. 508-513 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/904025 . Accessed: 24/01/2015 16:53

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This content downloaded from 128.235.251.160 on Sat, 24 Jan 2015 16:53:31 PM All use subject to JSTOR Terms and Conditions 508 THE MUSICAL TIMES.-AUGUST I, 1908.

above extractsthrow an interestinglight upon the Oratoriosare occasionally sung in the church; the state of parochial churchmusic in England during works that have been given include Haydn's the latterpart of the I6th century. 'Passion,' Schubert's 'Song of Miriam,' Spohr's The presentorgan, which dates from 1802, was 'Last Judgment' and 'Calvary,' Mendelssohn's built by James Davis, of , and presented 'St. Paul' (Part I.) and 'Christus,' and Gounod's to the church by John Horrocks, M.P. for the 'Redemption.' In December next it is proposed borough. This instrument,which had no pedals, to give Parts I., II., and III. of Bach's 'Christmas was placed in the West Gallery,where, after having Oratorio.' From this it willbe seen that themusic been added to at various times,it remained until at Preston Parish Church is well cared for under 1889. In that year the organ was entirelyrebuilt the direction of its enthusiastic organist and by Messrs. Hill & Son and placed in the north choirmaster. aisle of the chancel. It now consists of three For kind help in the preparationof this article manuals and a pedal, 17 stops on the Great organ, the writerdesires to express his indebtedness to 14 on the Swell, 9 on the Choir, and 8 on the Dr. R. C. Brown, Mr. James Taylor, and Pedal, making a total of 48 sounding stops, in Mr. E. Adkins. J. DOTTED CROTCHET. addition to 7 couplers. Mr. James Edward Adkins, Mus.B., F.R.C.O., the present organist of the church,was born at GLUCK IN ENGLAND. Belfast, on December 1867. He his 14, began CHRISTOPH WILLIBALD RITTER VON GLUCK. musical career at the age of nine as a choristerof Ely Cathedral,where he remaineduntil i882. After BORN, JULY 2, 1714: DIED, NOVEMBER I5, 1787. having been an articled pupil of the late Dr. E. T. Gluck was thirty-oneyears of age when he paid Chipp, organist of the cathedral,he entered the his only visitto England. He came here in 1745, Royal College of Music, where he studied under a memorable year in the historyof our country. Sir Walter Patratt and Sir Frederick Bridge, and A spiritof unrestprevailed owing to the invading played the viola in the College orchestra. In 1887 proclivitiesof 'Bonnie Prince Charlie.' When, in he qualified for the Fellowship diploma of the December, the Pretenderhad reached Derby with Royal College of Organists,and took the degree of his six thousand men, London was strickenwith Bachelor of Music at the Universityof Durham in panic. So great was the run upon the Bank of 1895. His organ appointments have been St. England that cheques were paid in sixpences in Anne's, Wandsworth,1884; All Saints',Grosvenor order to gain time,and so preventthe Old Lady Road, Pimlico, 1885 ; St. Stephen's, East of Threadneedle Street from ' breaking' or Twickenham,I886; Esher Parish Church, 1887; ' stoppingpayment.' And the King senthis jewels and Preston Parish Church, 189o, in succession to to a vessel in the Thames. No wonder that Mr. J. J. Greaves, who had held the post for mattersoperatic were at a standstill during the nearlysixty years ! anxious period of 'The Forty-five.' Burney tells Mr. Adkins-who, by-the-way,is an ardent us that the great Opera House in London was Freemason-has published a Full Communion 'shut up this year on account of the Rebellion, Service in B flat,and an Evening Service in D; to and popular prejudice against the performers,who, the 'Organists' QuarterlyJournal' he contributeda being foreigners,were chiefly Roman Catholics.' Dirge, and he has recentlycomposed a settingof Soon, however,a new era dawned in the operatic Tennyson's 'Tears, idle tears,' which is being world,with Gluck as its shininglight. specially printed for next year's Musical Com- Let us take a peep at the then peacefulinterests petition Festival at Preston. His unpublished of the nation,especially the sisterarts of painting compositionsinclude two Concertovertures for full and music. William Hogarth, aged forty-eight, orchestra; a Sonata for the organ; settings of was at the zenith of his fame. Joshua Reynolds, 'Rock of Ages' and the 'Pentecost'; two settings then a young man of twenty-twoyears, had already of the Cantate Domino and Deus misereaturbegun to add lustreto his name. In the realm of writtenfor the choir of Albany Cathedral,U.S.A.; music the Madrigal Society--which met at the and an Evening Service formen's voices. He was 'Founders' Arms,' Lothbury-had entered upon for many years acting secretaryof the Northern the fourthyear of its long and still vigorous life. section of the Royal College of Organists,indeed, Concerts were given at Hickford's Rooms, at the he originated, in 1893, the meetings held in west end of the town, and at the 'Swan' and Manchester and Leeds-and that have since been 'Castle' Taverns situated citywards. Church extended to other large cities and towns in the music in the metropolis was represented by provinces. As an active memberof the Preston Dr. Greene (aged fifty),organist of St. Paul's Musical Festival Committee, Mr. Adkins has Cathedral, and John Robinson, who discharged done much towards promoting the success of (more or less) the combined duties of 'chief that organization. At next year's meeting he will musician' of WestminsterAbbey withthose of two appear in the threefold capacity of adjudicator, other churches, St. Lawrence Jewry, and St. composer,and accompanist. Magnus, London Bridge. Arne and Handel-of The choir of Preston Parish Church consists of whom more anon-reigned supremeas the master- about fortyvoices, all the men and boys, except musicians in the land of theirbirth and adoption. the soloists, rendering voluntary service. The Such then was the state of music in London in anthem repertoire is very large and eclectic. the year 1745.

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If the informationconcerning Gluck's visit to styled the 'Circe of Soho Square,' by reason England is somewhat meagre,it is reliable. The of the 'Society' entertainments,concerts and chiefsources are two-Dr. Burney and the adver- masked balls she gave at Carlisle House in tisements in the London journals of the day. that well-known thoroughfare. Giulia Frasi, Burney,at that time just passing out of his teens, then a young singer, afterwardsachieved fame was full of the enthusiasm which is at summer as a singerin Handel's oratorios. She was a pupil heat in a youthfullover of music. He twice tells of Burney,doubtless for theory. When she told us in his 'History of Music' (vol. iv., pp. 452 and Handel that 'she should study hard and was 662) that his informationis derived frompersonal going to learn thorough-base in order to knowledgeand observation. 'As I firstarrived in accompany herself,' records Burney, 'Handel, London in the year I744,' he says (p. 662), 'I am who well knew how little this pleasing singer enabled to give the reader an exact account of the was addicted to application and diligence, said general state of Music thereat that time and since " Oh-vaat may we not expect!"' The 'charming from my own memory and knowledge, without Violetta' (Eva Maria Violette,to give the correct consultingbooks, or trustingto tradition.' Could spelling of her name), whose dancing won more anythingbe more satisfactory? applause thanGluck's music,married David Garrick The reputation which Gluck had made as a in I749. She survivedhim upwardsof fortyyears composer of Italian operas, at Milan (beginning and at her death-in 1822, at the great age of with 'Artaserse,' produced December 26, 1741), ninety-seven-she was buried in her distinguished Venice and Turin, doubtless promptedan invitation husband's grave in WestminsterAbbey. In her to England forthe re-openingof the Opera House old age the once beautifuldancer was described as in 1746. No definiteinformation is available as a little bowed-downold woman, who went about to who sent the invitationor the exact date when leaning on a gold-headed cane, dressed in deep the composer firstset foot on our shores. The mourning,and always talkingof her 'dear Davy.' name of Lord Middlesex has been associated With regard to the music of 'La Caduta de' with the coming of Gluck, and the date of the Giganti,'Burney says: 'The firstair in G minoris composer's arrival here is given as 'towards the of an originalcast, but monotonous. The second end of I745.' Certain it is that on January 7, air has genius and design in it. Then a duet, in 1746, the music of Gluck obtained its first which he [Gluck] hazarded many new passages hearing in this country. The advertisementand effects. The followingair, for Monticelli,is columns of the General Advertiserof that date very original in symphonyand accompaniments, furnishthe desired information: which a little disturbed the voice-partin perfor- HAY-MARKET. mance, I well remember,and Monticelli called it At the King's Theatre in the Hay-market,this Day, will aria tedesca. His contemporariesin Italy, at this be perform'da Musical Drama, in two Parts,call'd seemed too much filed and he wanted LA time, down; CADUTA DE' GIGANTI, THE FALL OF THE GIANTS. the which when With Dances and otherDecorations entirely new. file, used afterwards in that Pit and Boxes to be put together,and no Personsto be country,made him one of the greatestcomposers admittedwithout Tickets, which will be deliveredthis Day, of his time. The next air printed is in a very at the Opera-Officein the Hay-market,at Half a Guinea measure and like no other that each. peculiar I Gallery5s. remember: it has By His Majesty's Command,No Personswhatsoever to great merit of novelty and be admittedbehind the Scenes. accompaniment; the voice-partwants only a little The Galleryto be open'd at Fouro'Clock. Pit and Boxes more grace and quiet. The followingsong, set for at Five. To beginat Six o'Clock. a with little is full of The are desired make Jozzi, good musician, voice, *** Subscribersto the Opera to the new and and I should last Paymentof theirSubscription-Money to the Treasurer, ingenious passages effects; at the Opera-Officein the Hay-market,where Attendance like to hear this air well performedat the opera; will be given this and every Day, fromTen 'till Two, to it is kept alive frombeginning to end.' receivethe and deliverout the SilverTickets. Same, Burney propheticallyadds: 'Something might Burney records that the opera was 'performed be expected froma young man able to produce before the Duke of Cumberland ['Butcher this opera, imperfectas it was.' His statement, Cumberland'], in complimentto whom the whole repeatedlycopied by other biographers,that it had was writtenand composed.' He goes on to tell only five representations,does not agree with us that ' the [male] singerswere Monticelli,Jozzi, the advertisementsin the General Advertiser, and Ciacchi; with Signora Pompeati, afterwardswhich give announcementsof six performances, better known by the name of Madame Cornelie, January7, 11, I4, i8, 21 and 25, 1746. Although and Frasi. The first woman, Imer, never ' La Caduta de' Giganti' proved to be a failure,it surpassed mediocrityin voice, taste, or action; broughtabout the interestingfact that the earliest and the Pompeati, though nominally second publicationof any of Gluck's music took place in woman, had such a masculine and violent England! Walsh published the following six manner of that few female singing, symptoms excerpts from the opera: Sung by were perceptible. The new dances by Auretti, Care pupille amate - - - - Signor Jozzi. and the charmingVioletta, afterwards Mrs. Garrick, Vezzi lusinghee sguardi - SignoraPompeati. were much more applauded than-thesongs, which, Ah m' ingannasti(duet) - Signora -( Signor Pompeati. however,for the time had considerablemerit.' Monticelli. Si, ben mio, sar6 se il vuoi - SignorMonticelli. The 'nominally second' but masculine woman E' ugualead un tormento - Pompeati became the notorious Mrs. Cornelys, Conserva a noi il contento - - Signor Jozzi.

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'Artamene,' the second opera of Gluck's The song was evidentlya favouritewith Gluck, for, performedin London, was given for the firstat the age of fifty-eight,he sang it to Dr. Burney time on March 4. It has been repeatedlystated when the historian visited him at Vienna in the thatthis was a re-writtenversion of an 'Artamene' autumn of 1772. produced at Crema in I743. The recent and Thus ends the chapterof Gluck's operas given exhaustiveresearches of Signor Francesco Piovano, during his only visit to England. 'But,' the of Rome,* go to provethat no 'Artamene'composed reader will probablyask, 'what about the pasticcio by Gluck was produced at Crema in 1743, but "Piramo e Tisbe," ascribed to him by all his that an unknown opera by him, entitled biographers?' Ah! gentle reader, well may you 'I1 Tigrane,' had its first representationthere put that interrogation,for therebyhangs a tale in September of that year. There is reason to which has a very peculiar twist of extraordinary believe that, in the 'Artamene' produced in biographicalinaccuracy. In justice to M. Alfred London in 1746, Gluck used material taken Wotquenne (compilerof the invaluable Thematic from his earlier operas. Concerning its catalogue of Gluck's works) and Signor Piovano, performance here, Burney must again be it should be statedthat theyboth had grave doubts quoted. 'Monticelli was every night encored as to any such workhaving been writtenby Gluck. in " Rasserena il mesto ciglio." The motivo As a matterof fact the 'Piramo e Tisbe,' with of this air is gratefulto every ear; but it is which Gluck has been discredited,is the 'Pyramus too oftenrepeated, being introducedseven times, and Thisbe' composed by John FrederickLampe ! which, there being a Da capo, is multipliedto This mock opera was produced at Covent Garden fourteen. The second part is good for nothing. Theatre on January25, 1745, and repeatedseveral Indeed, no other air in this opera that has been times during that year, including the month of printed furnisheda single portentof the great December. As Gluck had arrivedhere by the end genius this composer afterwardsmanifested.' He of the year,he probablyheard Lampe's concoction, adds that the opera ran ten nights, but the and profitedby its patchworkfutility; but to say, advertisements announce eleven performances.as most of the biographersdo, that the failureof The principal songs in this, as in the earlier Gluck's 'Piramo e Tisbe' caused him to alter his opera, were published by Walsh under the style,is to repeat one of those mysteriousmyths in followingtitle, taken fromthe copy in the British musical history which provoke something more Museum Library: than a smile. The followingis the published title of Lampe's The I FavouriteSongs I in theI Opera Jcall'd composition: ArtameneI By SIGR. GLUCK. London. Printedfor I. Walsh in Catherine and Thisbe A The Streetin ye Strand. Pyramus : I I Mock-opera.I Wordstaken from Shakespeare. I as it is Perform'd at thel Theatre- Royal I in ICovent - Garden. The titles of the songs and the names of those Set to Musickby i Mr. I. F. Lampe. who sang them are: London. Printedfor I. Walsh, in Catherine Rasserenail mesto - - Street,in the Strand. ciglio SignorMonticelli. Pensa a serbami oh cara - - E maggiore d' ogn'albro - - - Signora Frasi. Il suo viso - - leggiadro - Signor Jozzi. Before mention of Gluck's concert Se Crudeli tanto - Signora Pompeati making (afterwardsMrs. Cornelys). experiences during his sojourn in London, let us Gia presso al termine - - - Signora Jozzi. see what Arne and Handel were doing in the musical At Lane on the last Here is the opening phrase of the first song, way. Drury Theatre, of His of which had an extraordinarymeasure of popularity. day January(1746),' Majesty's Company a call'd The Its Handelian characterwill not escape notice : Comedians presented Play Tempest, as writtenby Shakespeare . . . with the original Andante contodo. decorations, particularlythe Grand Masque, new set to Musick by Mr. Arne. The Part of Ariel Rass-e - re - na il mes - to ci-glio non (with the properSongs) by Mrs. Clive.' Sufficeit to say that one of those 'proper Songs '-' Where the bee sucks '-made the composer of 'Rule, 7 5 6 6 6 Britannia' a not unworthyrival of the composer of 5 'Che far6.' A little later-April I2, and at the same theatre-Arne had his benefit, at which was 'presented a Tragedy call'd " The Orphan, or ver, non e ver, non va-do a morte, non va-do a morte,&c. the unhappymarriage." The part of Monimia to be performedby Mrs. Gibber. With singing by ---:-" Mrs. Arne, and other Entertainments,as will be 6 6 4 6 Tasto solo. express'd in the Great Bills. Tickets to be 5 2 obtained of Mr. Arne, next door to the Crown and S'Un opera inconnu de Gluck,' par Francesco Piovano (Rome). Cushion in Great Queen Street by Lincoln's Inn Sa;,nmelbdlndeder Internationalen Musik-Gesellschaft. Jan.-March, 19o8, p. 231. Fields.'

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iiS

~:::5 Zw;:? MR.'. 1,?R.! -4?

GUSTAVUS WALTZ, HANDEL'S COOK.

And then in regardto Handel. On February14, Handel himself played his own new concerto, 1746, at Covent Garden Theatre, he produced these two master musicians met on that philan- 'A new Occasional Oratorio,with a new concerto thropicoccasion. The advertisement,which also on the organ.' Later in the year he was at work contained the entireprogramme, reads thus in the on his 'Judas Maccaboeus,' the overtureof which General Advertiser: is headed 'angenfangen den 9 July8 1746 oder den 8 -. dieses.' Handel had not a very high HAYMARKET. of Gluck as a opinion composer at this time. For the Benefitand Increaseof a Fund establish'dfor the Burneysays: 'I rememberwhen Mrs. Cibber, in of or asked Handel what sortof a Support Decay'dMusicians, theirFamilies. my hearing, composer At he his an " the King's Theatre in the Hay-market,this Day, was; answer,prefaced by oath, was he March will be an Entertainmentof Vocal and knows no more of as mein 25, performed contrapunto cook, InstrumentalMusick, as follows: Waltz."' In order to modify this outspoken opinion, it should be stated that, in addition to PART I. ministeringto the culinary wants of Handel, Overture. Della Caduta de' Giganti,compos'd by Signor Mr. Gustavus Waltz (whose portrait is given Gluck. was above) a violoncellist and a vocalist. Air. Care in La Caduta de' Doubtless his dishes were in bettertaste than his pupille Giganti, sung by master's criticisms. SignorJozzi. expletive Air. Son Przgioniero,in II Trionfodella Continenza,sung tells us that Handel was 'seldom Burney absent by fromthe Benefit of SignoraPompeati. decayed musicians and their Air. Bella, consola,in ditto,sung by SignorCiacchi. it families.' Therefore may be assumed that the Air. Men Tedele, by Mr. Handel, sung by Signor master attended the concert given on March 25. Monticelli. Moreover,if Gluck, as is most probable, was also Air. La Sorternia Tiranna, in I1 Trionfo, sung by present to conduct his own compositions, and SignoraImer.

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PART II. The musical critic had no existence at that Concertoby Mr. Weidemann. time. One wonders what those of the present Air. Return,0 Lordof Hosts,in the Oratorioof Samson,day would have to say about Signor Gluck's sungby Signora Frasi. on those vessels of imbibition. Air. Mr. Monticelli.performances I1 Cormneo,by Handel,sung by Signor In the absence of any such criticism,Horace Air. Pensa che Cielo in La Caduta,sung by il tremna, Walpole maybe quoted. Writingto Horace Mann, SignorCiacchi. on March he 'The flourish Air. Mai l'Amormioverace, in ditto,sung by Signor Imer. 28, 1746, says: Operas more than in latter the Concertoby Mr. Carbonell. any years; composer a is to have a Air. 0 da Pastor, del Sign. Lampugnani,sung by is Gluck, German: he benefit, Sig. Monticelli. at which he is to play on a set of drinking-glasses, PART III. which he modulates with water: I think I have Concertoby Mr. Miller. heard you speak of some such thing.' It seems Air. Per Pieta, in Il Trionfo,sung by SignorJozzi. extraordinarythat at his benefit Gluck, the Air. VolgoDubbioso, in La Caduta,Sung by Sign. Pompeati. should play a concerto a new Air. The Prince unable to concealhis in Alexander's composer, 'upon pain, instrumentof 26 glasses.' Feast,Sung by Signora Frasi. As an instrumentalcomposer Gluck is hardly Concertoby Mr. Vincent. known to but the BritishMuseum contains Duetto. In II Monticelliand fame, Trionfo,sung by Signor the issued his visitto SignoraImer. followingpublication, during A GrandConcerto of Mr. Handels. England :

Pit and Boxes to be puttogether, and no Personsto be Six I Sonatas I for two I Violins & a Thorough admittedwithout Tickets, which will be delivered Bass compos'd by I SIGR. GLUCK. I Composer to this Day, at the Officein the Haymarket,at Half a the Opera. I Guineaeach. Gallery5s. London Printed orJ. Simpsonat the Bass Viol To beginat sixo'Clock. and Flute at Sweeting'sAlley oppositethe East The Ticketsdeliver'd to the Subscribersto thisCharity Door of ye Royal Exchange. *** willadmit one Person to any Part of the House. The next concertwithin our surveywas of quite No better conclusion to these informal notes a differentnature. It speaks for itself in the on Gluck's only visit to England could be found followingadvertisement from the GeneralAdvertiserthan Burney's description of the visit he paid of March 31, 1746 : to the composer at Vienna in September 2, 1722, At Mr. Hickford'sGreat Room in Brewer'sStreet, on as recorded in 'The present state of music in ofthe ' Monday,April 14, SignorGLUCK, Composer Operas, Germany,&c. (I775) : willexhibit a Concertof Musick. Bythe best Performers 'At five o'clock Lord Stormont'scoach carried fromthe Opera-House. Madame Thun, his lordship, and myself,to the Particularly,He will play a Concertoupon Twenty-six house of the Chevalier Gluck, in the tunedwith Fauxbourg Drinking-Glasses, Spring-Water,accompanied St. Mark. He is very well housed there; has a withthe whole Band, being a new Instrumentof his own and a number of and whichhe be prettygarden, great neat, Invention;upon performswhatever may done furnishedrooms. He has no children. on a Violinor and to the elegantly IHarpsichord; therebyhope satisfy his niece who with Curious,as wellas theLovers of Musick. Madame Gluck and lives him, came to receive us at the door as well as the To at Halfan Hourafter Six. begin veteran composer himself. He is much pitted TicketsHalf a Guineaeach. with the and coarse in and in the small-pox very figure Ticketsto be had at the OrangeCoffee-house soon into and he Katherine-streetin the look, but was got good humour; Haymarket;at Mr. Walsh's in and Madame Thun Strand; andat thePlace of Performance. talked,sung, played, observed, more than ever she knew him at any one time. As the advertisementwas not it be repeated, may He began, upon a very bad harpsichord,by that this concert did not come inferred particular accompanying his niece, who is but thirteenyears to a of off,owing perhaps scarcity 'spring water,' old, in two of the capital scenes of his own famous as a advertisementomitted reference subsequent any opera of " ." She has a powerfuland well- to the particular quality of the tunefulbeverage toned voice, and sung with infinitetaste, feeling, It reads thus: employed expression,and even execution. At theDesire of severalPersons of Quality. 'When she had done, her uncle was prevailed At in on the little Theatre the Haymarket, Wednesday upon to sing himself; and with as little voice as next [April 23], will be perform'da Concertof Vocal and he contrivedto entertainand even Instrumental MUSICK. possible, delight the company, in a very high degree; for, with By the principal Performers of the Opera, particularly the and Signor GLUCK, Composer of the Opera, will play a Concerto, the richness of accompaniment, energy manner the and his and a to be a new vehemence of his in Allegros, Song sung by Signora FRASI, upon in slow Instrument of 26 Glasses, and thereforehopes to satisfythe judicious expression the movements,he so Curious, as well as all Lovers of Musick. well compensatedfor the want of voice that it was a defectwhich was soon entirelyforgotten. Pit and Boxes to be at Half a Guinea put together each, 'He was so good-humoured as to perform Gallery 5s. almost his whole of " Alceste" To begin at Half an Hour after Six. opera ; many Tickets to be had at the Prince of Coffee-house in admirable thingsin a still later opera of his, called Orange " the Haymarket. Paride ed Elena"; and in a French opera, from

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Racine's " Iphigenie," which he has just composed. This last, though he had not as yet committeda Occaional 10otea. note of it to paper, was so well digested in his head, and his retentionis so wonderful,that he For manyyears I wanted to comfose a work entitled sung it nearlyfrom the beginningto the end, with 'Love, a theme with variations.' But I gave it up. as much readiness as if he had had a fair score When I was young I had the theme,but not sufficient beforehim. experiencefor the variations. When I was old I could ' His inventionis, I believe, unequalled by any write the variations, but could notfind the theme. other composer who now lives, or has ever existed, ANTON RUBINSTEIN. particularlyin dramatic painting and theatrical effects. He studies a poem a long time before he The monumentto Sebastian Bach thinksof it. He considerswell the relation John recently setting erected at Leipzig, stands in frontof St. Thomas's which each part bears to the whole, the general Church,a mostappropriate position for a mementoof cast of each character, and aspires more at one so illustriouslyconnected with that historic satisfyingthe mind, than flatteringthe ear. This sanctuary. At the unveilingceremony, on May 17, is not only being a friend to poetry,but a poet English musicianswere representedby that ardent and if he had of Bach-lover,Mr. Henry Davey. This information himself; language sufficient, any and correctsthat in our other kind than that of sound, in which to supersedes given Julyissue, express p. 472. his ideas, I am certain he would be a great poet: as it is, music, in his hands, is a most copious, and The arrangementsfor the visit to Canada of the nervous,elegant, expressivelanguage.' Sheffield Musical Union Dr. 'I remindedM. Gluck of his air " Rasserena il (conductor, Henry Coward) have now been matured. The partywill mesto ciglio," which was in such great favour in leave Glasgow on October 23 and reach Montreal England, so long ago as the year 1745; and on NovemberI. The itinerarywill include Montreal, prevailed upon him, not only to sing that, but Ottawa, Toronto, Niagara, Hamilton, London (the several others of his firstand most favouriteairs. farthestpoint), Brantford, Galt or Guelph,Belleville or Montreal He told me that he owed entirelyto England the Kingston, and, perhaps,Quebec. studyof nature in his dramatic compositions: he went thither at a very disadvantageous period. The approaching centenary of the birth of Handel was then so high in fame, that no one Mendelssohn-he was bornat Hamburg,February 3, would willinglylisten to any other than to his I809-has caused the directorsof the CrystalPalace compositions. The rebellion broke out; all to celebratethe event by enlargingthe scope of the foreignerswere regardedas dangerousto the state: Handel Festival,due next year. It is proposed to the was shut order of the Lord hold a Handel-MendelssohnFestival in June, 19o9, Opera-house up, by of and it was with and whichwill include performances '' and Chamberlain, great difficulty each oratorio one On the address that Lord Middlesex obtained 'Elijah,' occupying day. permission Selection day, excerptswill be given fromHandel's to open it again, with a temporaryand political '' and Mendelssohn's choral and performance,"La Caduta de' Giganti." This Gluck orchestralworks. Dr. F. H. Cowen will conductthis workedupon withfear and trembling,not only on novel two-composermusic-making at Sydenham. account of the few friendshe had in England, but froman of riot and at apprehension popular fury, A musicalcoincidence of interest the of a theatre in which none but quite exceptional opening was recentlypointed out by Herr ArthurSmolian, a foreignersand papists were employed. criticand Musikschriftstellerof excellentrepute in 'He then studied the English-taste; remarked Germany. To be sure, the subject of musical particularlywhat the audience seemed mostto feel; coincidencehas been worn threadbare,but Herr and findingthat plainness and simplicityhad the Smolian's interestingfind is altogetherout of the usualrun of such He had been asked to write greatesteffect upon them,he has, ever since that things. an of Liszt's 'Dante' fora concert time,endeavoured to write for the voice, more in analysis Symphony the natural tones of the human affectionsand in Leipzig, and in the course of his elucidatory remarkshe drewattention to the relationshipexisting passions, than to flatterthe lovers of deep science between(I) the short F sharp Episode in seven-four or difficultexecution.' timesuggesting the touching dialogue betweenPaolo The presentwriter had intendedto conclude this and Francesca in Liszt's work, (2) a pas'sage in ' article with a list of the first performancesof Beethoven'sgreat Hammerklavier'Sonata in B flat and the theme withthe characteristic Gluck's operas in England, but as the available (Op. io6), (3) informationon this is somewhat 'turn' upon whichgreat portionsof the Love Duet, point conflicting,and ofthe Liebestod-Finalein Wagner's'Tristan und the project was relinquishedwith regret. Isolde' are built. The similaritylies not so much F. G. E. in the actual notes whichthese threegreat masters have put uponpaper, but in the mood,which is thatof Dr. T. von Frimmel,the well-knownauthority on intensest,purest love-longing,and finds expression Beethoven,in the Neue Freie Presse (Vienna) calls chieflyin the yearningupward glance across the special attentionto and quotes largely from the intervalof a seventhwhich is found in each of the biographicalsketch of George P. Bridgetowerwhich passages. appeared in our May issue. Several English newspapershave also called attentionto thisarticle The most fascinatingpart of Herr Smolian's on the mulattoviolinist for whom Beethovenwrote discoveryis, however,the fact that Beethoven is here, the Kreutzersonata. in one of his most inspiredand world-forgetting

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