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Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org 182 THE MUSICAL CRITIC AND TRADE REVI August 5th, 1881 into regions "where all sounds, agreeable or other- children reside in Thurlow-place, Lower Norwood, the maturijty of his career he composed an opera wise, have an accepted affinity with human feeling, London. seria, pntitJe£L_LiPj.ttore e Duca," expressly for that thought, and deed. These regions are vast and semi-German semi-Italian city, Trieste, whose de- vague, and in proportion to their vastness and LOST! A COMPOSER. cided success added to his reputation, and set the vagueness is the freedom they confer. No law seal of Continental approbation on his genius. Such reigns there. He who enters in may do just as he ICHAEL WILLIAM BALFE was born at a career as that of Balfe's is rare—unprecedented pleases, none daring to fetter his liberty or dictate M Dublin, May 15th, 1808. He is the first Eng- in this country, where so little account is ordinari- his line of action. Towards such "back-woods" lish subject of modern times whose talent as a com- ly taken of the labors of our own musicians, how- of music, modern composers, unable to distinguish poser has been acknowledged, and whose works ever conscientious and hard-toiling. It may just- themselves under a reign of law, are setting their have been performed throughout the Continent of ly be likened to the career of Rossini in Italy and faces, and the Baron Bodog Orczy goes with them. Europe; and it will be through him, and such as of Auber in France. Balfe, indeed, was our Ross- Under the circumstances we must appeal to them him, whose merit is so justly appreciated abroad, ini, and our Auber; for his eclectic genius led him and him for indulgence, even if we seem unreason- that our countrymen will, sooner or later, be com- to amalgamate the styles of those distinguished men, ably slow to understand what they do. The Baron, pelled to relinquish the prevalent prejudice against while giving a coloring to the amalgamation which we are sure, will not refuse it to any who are still English musical capability. was his own and no one else's. Thus M. W. Balfe plodding along the beaten roads of art, and influ- Balfe possessed in a high degree the qualifica- has been the champion of English musical art, not enced on all sides by conventional notions. It tions that make a natural musician: the spontaneous only at home, but abroad. In the Colonies and in may be supposed from the remarks just made that character of his music; the executive facility, almost the United States the name of Balfe is as much a " II Binnegato " is an outcome of Wagnerism. In unlimited, and ceaseless fluency of invention, with household word as in the heart of London. We this idea we can only discern a modicum of truth. a felicitous power of producing striking melodies. ought to be proud of such a man—a Dickens in his The Hungarian opera has, no doubt, certain things His great experience added to these has given him way—if the widest popularity counts for anything. in common with the representative works of Wag- the complete command of orchestral resources and The extraordinary welcome given to the '' Serag- ner, but it has many more which the Bayreuth mas- a remarkable rapidity of production. His English lio" of Mozart, with its " wealth of welling melo- ter would repudiate. Wagner might see a part of opera, " The Bohemian Girl," has proved the most dy," at Covent Garden Theatre recently, may be himself in the remarkable earnestness and industry universally popular musical composition which has taken as a proof that a return of taste for this de- which alone could have produced "II Rinnegato," emanated from this country, '' The Light of other light is about to take place. and he would probably approve the free use of Days" in the " Maid of Artois," has been the most There is a vast amount of dramatic force in Balfe's • characteristic themes, the elaboration of the or- popular song in England that our days have known. music independently of the qualities which appeal chestral part of the score, and the steadfast avoid- His Italian opera "Falstaff," brought out at Her at once to the ear. His Sonata for stringed instru- ance of beauty for its own sake. As a whole, how- Majesty's Theatre in 1838, the first opera written ments, played at the Monday Popular Concerts and ever, " II Rinnegato " shows us the Baron Bodog for that establishment by a native composer, since elsewhere, proves that he could write according to Orczy, and no one else. Wagner could not have the time of the Olympiade of Dr. Arne in 1765. At the rules of strict form. His orchestral effects written the work if he would, and its composer the State performance given at Her Majesty's Thea- show that he knew how to employ the orchestra in may flatter himself upon freedom from all rivalry, tre to the Royal Visitors on the occasion of the another manner than to make it " boom like a big since, observant of the sacrifices involved, no other wedding of the Princess of Prussia, in 1858; " La guitar." His knowledge of stage business enabled composer would if he could. Amateurs who are Zingara," the Italian version of "The Bohemian him to adjust his music so that it was well adapted curious as well as modest doubtless anticipate fu- Girl," was selected for the Italian company, and to intensify the dramatic situations ; yet for all his ture performances of the opera with interest. the " Rose of Castille " for the English company, knowledge and experience, superadded to his geni- They suspend their judgment till their eyes have the composer being thus placed as the sole repre- us, he, as a composer, is lost. grown used to a strange light, and their minds sentative of lyrical art in this country. It may be that there are certain people interested have grasped peculiar principles and methods. It is with Balfe that the highest honors remain. This is fair to the composer and just to themselves. in some way or another in keeping his works off As he was the first to elevate the British lyric the stage. It may be that the public, willing to For our own part, these ends attained, we shall drama to a high position, so was he also the first return to the subject.—Daily Telegraph, London. sing his melodies in public, are frightened out of British native who was able to compete on the Con- tlu'r wits and wills by the dark shadows of pro- tinent with foreign composers, and produce in hibitory penalties, and so the chain has been linked AN ENGLISH BARITONE. France, Germany, Italy, and Spain, the works of a together which has dragged poor Balfe from out of British musician. His inventive power of melody the line of popular memory. HOW HE GOT INTO TROUBLE. was ever fresh and abounding, and lives to reproach N Englishman who gave his name to Justice the great want of the present day. In this, at least, Whatever may be the cause, he is, as a composer, A Bixby as Henry F. Fairweather, was arrested no one has yet replaced Balfe. His industry was lost. Can anything be done that he may be found, on July 19th, for singing in Madison Square park, astonishing, and its prolific power is best proved and restored to his proper place on the stage or in in disguise. Justice Bixby in accordance with the by simply giving a list of the Operas produced by the concert room ?—The Orchestra and the Choir, law sentenced him to six months' imprisonment in him, with their several dates—a list now, for the London. the Workhouse, but on evidence of Fairweather's first time, correctly published:— " LA REGINA DEL NEPAL " respectability discharged him from custody the 1. "I Rivali di se stessi," Palermo, 1829; 2. " Un following day. He gave the following account of Avertimento ai Gelosi," Pavia, 1830; 3. "Enrico A NEW OPERA BY G. 13OTTESINL his history to a reporter : IV., al passo della Masna," Milan, 1831; 4. "Siege IGNOR BOTTESINI has long been prominent- "I was born in North street, White Chapel, of Rochelle," London, 1835; 5. " Maid of Artois," S ly before the public in Italy as a double-bass London, 40 years ago. Sixteen years ago I obtain- 1836; 6. "Catherine Grey," 1837; 7. "Joan of Arc," virtuoso without equal, and to his fame in so u- ed the position of supplementary letter-carrier in 1837; 8. "Diadeste," 1838; 9. "Falstaff," 1838; 10. nique a capacity he has of late years added consider- the London Post Office, I was rapidly advanced to "Keolanthe," 1841; 11. " Le Puits d'Amour," able success in composition. In this field his rep- the office of Overseer of the Newspaper Branch, Paris, 1843; 12. "Bohemian Girl," London, 1843; utation is founded more especially on his opera which, owing to severe illness, I was forced to re- 13. "Daughter of St. Marc," 1844; 14. " Les Qua- "Hero and Leander," which was brought out in linquish four years ago. I have since been in tre Fils Aymon," Paris, 1844; 15. " The Enchant- Turin, and subsequently performed with success in receipt of a yearly pension of £36 3s. During my ress," London, 1845; 16. "L'Etoile de Seville," Milan, Rome, and Naples. The work, moreover, term of service in the London Post Office I was a Grand Opera, Paris, 1845; 17.