THE MUSICAL WORLD, A JOURNAL OF Music, the Drama, Literature, Fine Arts, Foreign Intelligence, &c. AND COMPLETE RECORD OF THE THEATRES AND THE CONCERT ROOM. PUBLISHED EVERY SATURDAY AT NOON; TO BE HAD IN WEEKLY NUMBERS, MONTHLY PARTS, AND ANNUAL VOLUMES. VOLUME XXV. London: PRINTED AND PUBLISHED BY W. S. JOHNSON, "NASSAU STEAM PRESS," 60, ST. MARTIN'S LANE, CHARING CROSS. MDCCCLI. LEADING ARTICLES. Stephen Heller, Pages 1-Jullien in Manchester and Birmingham, 2- Stephen Heller, 13-Halevy's Val d'Andorre, 13-Alboni, 29-Stephen Heller, 29-Sacred Harmonic Society, 32-Stephen Heller, 45, 61, 77, 93-Balfe, 93-Her Majesty's Theatre, 94-St. Martin's Hall, 96 ARTICLES, ORIGINAL, EXTRACTED, AND TRANSLATED. Ernst, Pages,' 2-Moore's Plagiarisms, 3-Albert Smith and Mr. Shep- hard, 4-Mr. Lumley, 15-Jullien in Dublin, 15-An enthusiast for Mr. Cooper, 20-Andrew Park, 20-Singers behind the Scenes, 20- Manchester Madrigal Society, 25-Musical Almanack, 25-The Euterpe of Herodotus, 33-Stephen Heller, 34-Progress and Influence of Music (No. 1), 39-Moore's Plagiarisms, 42-Sacred Harmonic Society, 46-Ernst, 47-Stephen Heller, 48-Mrs. Glover, 48-Jullien in Edinburgh, 49-Death of Mdme. Grassini, 52-Macready's Farewell Performances at Bristol, 55-Moore's Plagiarisms, 56-Mendelssohn, 61-Moore's Plagiarisms. 62-Music at Brighton, €6-Balfe at Berlin, 69-Progress and Influence of Music (No. 2), 71-Charles E. Horn, 72-The Purcell Club, 74-Ernst, 79-Windsor Theatricals, 80- Moores's Plagiarisms, 80-" St. Paul's" at Manchester, 83-The Old Musician,89-Sacred Harmonic Society, 98-The Old Musician, 103— Moore's Plagiarisms, 105-St. Martin's Hall, 111-Progress and Influence of Music (No. 4), 113-Macready in Liverpool, 117- Beethoven at the Piano, 118-Italian Opera in America, 119-Moore's Plagiarisms, 120-A New Musical Celebrity, 125-Ernst at Man- chester, 127-Zingarelli and Rossini, 127-Carlotta Grisi at Dublin, 127 Mr. Bunn on the Stage, 129-Music at Boulogne-sur-mer, 129-Sacred Harmonic Society, 130-The Fairy La ly of Calderon, 136 Church Music, 137-Music and the Drama in New York, 141 - Jenny Lind's Visit to America, 143-Hayd.1, 143-Spohr, 144, Bologna, 153-Carlotta Grisi, 160-Royal Academy, 162 -American Pot Pourri, 163-M. Billet's Classical Concerts, 163- St. Martin's Hall, 164-Moore's Plagiarisms, 169-Carlotta Grisi, 175 Weber, 178-Mr. R. Hoffman Andrews, 182-Royal Academy, 182- Catherine Hayes at Limerick, 183-Gardoni, 189-Royal Academy of Music, 191-Sacred Harmonic Society, 192-The Royal Academy, 193. General Theatrical fund, 195-A Sketch of the Philharmonic, 196— Madame Anne Thillon, 196-Comparisons of Dramatic Literature, 201 -Grattan Cooke and the Philharmonic, 215-Royal Academy, 215- Comparisons of Dramatic Literature, 216-Moore's Plagiarisms, 217- Grisi, 225-The Horn of Platt, 230-Benedict, 237-M. Silas, 237- Jenny Lind, 238-Jullien in the Provinces, 239-Madame Dulcken, 242-Royal Academy, 243-Stephen Heller, 253-Death of Words. worth, 258-Royal Academy, 259--Madame Dulcken, 260-Music in Edinburgh, 263-Our Cotemporaries, 264, Grisi and Mario, 271-Ernst in Dublin, 271-Apothegms, 272-Late Mrs. Edmonds, 276-M. Silas, 280-Moore's Plagiarisms, 281-Exbibition of the Royal Academy, 289 Royal Academy and its Professors, 291-Our Contemporaries, 294- Moore's Plagiarisms, 297-Exhibition of the Royal Academy, 305- Musical Professorship, 307-Dr. Mainzer at Manchester, 310- Halevy, 321-Jullien at the Zoological Gardens, 322-The Choral Fund and the Sacred Harmonic Societies, 328-Alboni, 333-Vivier, 333-Apothegms, 335-Dreyschock. 335-Mario and Tamberlik, 339 Sacred Harmonic Society, 339-Vivier, 349-Verdi at the Royal Italian Opera, 350-Our Cotemporaries, 352-Annual Meeting of the Charity Schools, 356-Early Development of Musical Genius, 357- Moore's Plagiarisms, 360-Mr. Jarrett and the Athenæum, 365-Our Cotemporaries, 365-Queen's College Institution of Ladies, 377- Surrey Zoological Gardens, 385-Molique's New Trio, 386-The late Miss Jane Porter, 387--Haydn, 387--Shakspeare Cookery, by M. Scribe, 392-Our Cotemporaries, 399-American Double grand Piano, 401-The Polka, 402-Moore's Plagiarisms, 408-Surrey Zoological Gardens, 417-Jullien at Colchester, 435-Mrs. Glover, 446-An Anecdote of the Jenny Lind Furore, 418-Provincial Criticisms, 449-The National Gallery and the Royal Academy, 450-The Abuses of the Royal Academy, 465-The Polka, 466-A Month at Constan tinople, 473-The Public Grant to the Private Academy in Trafalgar Square, 479-The Vernon Gallery in Marlborough street, 480-Rachel, 482-Vauxhall Gardens, 484-Signor Onorato Leonardi Paglieri, 493 -The Royal Academy and its Professors, 495-Carlotta Grisi's Ariel, 496-Carlotta Grisi's Giselle, 496-Garlotta Grisi's Benefit, 496- The Two Italian Operas, 497-Death of Mr. G. Budd, 503- Madame Sontag and Don Giovanni, 504-Jenny Lind, 505-Leda and the Swan, 505-Don Juan in the Theatre, 505-Glastonbury Abbey, 511-Marriage of Jenny Lind, 512-Fiorentini, 512-Jenny Lind, 514-A Musical Prodigy, 515-Don Juan in the Theatre, 518-Music in Humble Life, 520-Jenny Lind at Liverpool, 525 -Origin of the Royal Academy, 534-Miss Cushman, 536-Jenny Lind at Liverpool, 541- The Royal Academy, 563-Sir Martin Archer Shee, 569-The Grand Organ at the Liverpool Collegiate Institution, 579-New Life and Old Learning, 582 - Gloucester Musical Festival, 589 Piccini, 599-Adolphe Henselt, 603 Mrs. W. Clifford, 612-Piccini, 613-Rossini's First Love, 614- Lablache, 617-Rhuddlan Royal Eisteddvod, 621-Jenny Lind in America, 628-Jullien in the Provinces, 631-Jenny Lind's first Concert in America, 632-Rhuddlan Royal Eisteddvod, 637-Jenny Lind in America, 6+1-The Italian Opera at Paris, 645-A Romance of Real Life, 645-Jenny Lind in New York, 654-Barnum and Jenny Lind, 658-Jenny Lind in New York, 671-Jenny Lind versus Tripler, 677-Piccini, 677-Choral Harmonists Society, 685-Jenny Lind in Boston, 686-Piccini, 688-Jenny Lind in Boston, 701-Jenny Lind and the Americans, 705-New York Gleanings, 712-M. Jullien's Bal Masque, 717-Jenny Lind in America, 718-Catherine Hayes's "Norma," 721-Street Musicians, 722-Opening of the Italian Opera in Paris, 733-The Theatres in Paris, 738-Commemoration of the Organists of St. George's Chapel, Windsor, 740-The Sleeper Awakened, 749-Music in Paris, 750-St. Martin's Hall, 754-Spohr - Soirees, 417-Royal Academy of Music, 418-Beethoven Quartet Society, 429-Mdlle. Anichini's, 430-Mr. T. M. Mudie's, 541-Miss Emily Newcombe's at Plymouth, 581-Grand National, 653, 669, 685, 701, 717, 734, 751, 765, 782, 798-M. Julien's, 735, 753, 766, 783, 799-Miss Dolby's Soirees Musical, 801. Balfe, Macfarren, Loder, Hector, Berlioz, and Felicien David, 767Sivori, 767-Jenny Lind visiting the Blind, 767-Madame Thillon at Willis's Rooms, 768-Catherine Hayes, 770-Jules Janin and "Le Prophète," 774-Exeter Hall, 774-Jetty Treffz, 781-Sacred Harmonic Society, 783-Miss Christina Dawson in Glasgow, 785Dante, 786-The Infant Marie, 786-Spohr's Seasons, 787-Knebworth Theatricals, 792-Theatricals at Windsor Castle, 797-Miss Goddard, 801-An Ancient Lind Mania, 803-How Charles Kean PAGES-1, 13, 29. became an Actor, 809-Theatricals at Windsor Castle, 813-Jenny Lind Papers, 814-St. Martin's Hall, 817-A Theatre without an Orchestra, 818. DRAMATIC INTELLIGENCE. HER MAJESTY'S THEATRE-157, 173, 189, 212, 221, 240, 256, 269, 286, 302, 317, 336, 369, 381, 393, 415, 431, 447, 462, 479, 504, 509, 535, 564. ROYAL ITALIAN OPERA-175, 190, 213, 223, 240, 256, 270, 286, 303, 317, 337, 349, 373, 381, 398, 417, 433, 448, 463, 479, 504, 511, 535, 567, 573. DRURY LANE PAGES-6, 82, 99, 115, 131, 166, 206, 230, 248, 273. HAYMARKET PAGES-36, 39, 132, 167, 184, 206, 230, 374, 435, 576, 615, 677, 689-(MACREADY'S FAREWELL PERFORMANCES)-706, 725, 742, 756, 777, 791, 805, 823. PRINCESSES PAGES-38, 66, 83, 115, 132, 207, 248, 278, 341, 446, 678, 690, 742, 792, 823. Mr. Willy's Classical, page, 5-London Wednesday, 5-17-M. Billet's Séances, 25-London Wednesday, 33-Mr. Billet's Soirees, 35-London Wednesday, 50-Mr. Thomas's Classical, 53-London Wednesday, 63M. Billet's Soirees, 65-London Wednesday, 78-Society of British Musicians, 79-M. Billet's Soirees, 97-London Wednesday, 98-Mr. Sterndale Bennett's Classical, 109—Mr. Willy's Classical, 111—London Wednesday, 112-Society of British Musicians, 114, 131-Amateur Musical Society, 131-Philharmonic Society, 143-Society of British Musicians, 145-London Wednesday, 146-Molique's Chamber Concerts, 147-Sterndale Bennett's Classical, 147-M. Billet's Soirees, 148 -London Wednesday, 161-Mr. Dando's quartet, 161-Philharmonic Society, 179-Musical Union, 180-Molique's ChamberConcerts, 181Sterndale Bennett's Classical, 181-M. Billet's Soirees, 182-Concert at Buckingham Palace, 186-M. Billet's Soirees, 192-London Wednesday, 211-M. Billet's Soirees, 211-Philharmonic Society, 226-Molique's Chamber Concerts, 227-Mr. G. A. Osborne's, 227-M. Billet's Soirees, 228-The Musical Union, 228-London Wednesday, 229Beethoven quartet Society, 241-Musical Union, 253-Philharmonic Society, 254-London Wednesday, 275-M. Billet's Soirees, 276Philharmonic Society, 287-Musical Union, 290-Royal Academy of Music, 292-London Wednesday, 293-The Misses Birch's, 303—Miss Dolby and Mr. Lindsay Sloper's, 304-Philharmonic Society, 318-The Musical Union, 320-London Wednesday, 320-M. Billet's Soirees, 334-Royal Academy of Music, 340-Mr. Brinley Richards, 351Philharmonic Society, 351-Mrs. Anderson's, 374-Philharmonic Society, 383-Mr. Benedict's, 385-Beethoven Quartet Society, 397Musical Union, 414-Concert at Buckingham Palace, 415-M. Billet's EPIGRAMS FROM THE GREEK. FOREIGN INTELLIGENCE. PARIS 665, 788, 821-St. Petersburgh, 788-Milan, 354-Madrid, 797Naples, 293-Leipzic, 436-Verona, 293-Genoa, 293-Venice, 293Switzerland, 570-Orleans, 263-Montpellier, 263, 273, 353, 376-Weimar, 233-Marseilles, 424-New York, 216, 451, 496, 768, 802 -Philadelphia, 819-Brunswick, 200-Mayence, 519-St.Omer, 169Tours, 293-Nancy, 168, 185, 263-Caen, 602-Romano, 821-Berlin, 88, 322, 405, 821-Bucharest, 821-Florence, 646-Havannah, 53, 250-Brussels, 646. ORIGINAL CORRESPONDENCE. Pages 10, 24, 54, 85, 86, 121, 122, 130, 131, 151, 152, 169, 185, 199, 200, 233, 243, 244, 245, 261, 262,279, 280, 297,309,310,342, 343,360, 377, 389, 390, 391, 405,406, 407, 408, 424, 425, 426, 439, 440, 441, 452, 453, 454, 455, 456, 470, 471, 472, 473, 485, 486, 487, 501, 502, 517, 518, 537, 570, 580, 616, 632, 633, 649, 650, 665, 682, 695, 696, 729, 761, 777, 810, 811 839. OUR SCRAP BOOK. Pages, 500, 516, 584, 585, 615, 647, 666, 682, 697, 704, 705, 723, 724, 741, 755, 776, 803, 804, 205, 824, 825, 826. POETRY. Sonnets, by N. D., pages 2, 18, 33-Man of Battersea, 6-Boiardo, 53— Pages, 8, 9, 10, 21, 22, 23, 41, 54, 69, 70, 84, 85, 101, 102, 103, 117, 134, 135, 136, 150, 151, 164, 165, 166, 185, 198, 199, 232, 233, 245, 246, 247, 260, 261, 277, 278, 279, 296, 307, 308, 324, 326, 327, 343, 355, 389, 404, 421, 422, 423, 438, 457, 469, 488, 489, 537, 567, 568, 577, 578, 579, 599, 600, 601, 616, 648, 659, 661, 662, 663, 664, 665, 679, 680, 681, 691, 692, 693, 694, 695, 708, 709, 710, 711, 726, 727, 728, 743, 758, 759, 760, 777, 788, 789, 790, 807, 808, 821, 822, 123. REVIEWS OF MUSIC AND BOOKS. Pages, 2, 74, 87, 88, 122, 216, 280, 293, 307, 322, 378, 426, 442, 458, 468, 484, 496, 617, 651, 794, 811, 826. MISCELLANEOUS. 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SATURDAY, JANUARY 5, 18957 THE age of Dussek, as we have termed it, was rich in composers for the pianoforte. Besides Dussek and Clementi, already mentioned, there were Steibelt, Woelf, Kozeluch, Krumpholz, Eberl, and many others, among whom one of the most distinguished by the services he rendered to the instrument was John Cramer. All these produced sonatas. Dussek and Clementi wrote the largest number, and the best; but Dussek had by far the greatest influence on his cotemporaries. The characteristics of his style were salient and marked, while, like all men of genius, he had mannerisms, upon which his imitators fastened exclusively, it being out of their power to copy the ideas that flowed from the springs of his invention which, however, they, not seldom, either paraphrased or stole outright. Thus the world was deluged with good, bad, and indifferent imitations of Dussek. Among the good may be cited the sonatas and concertos of John Cramer, who, except in his inimitable Studies, has not shown any originality as a composer. Among the indifferent must be ranked the works of Eberl; and still more indifferent, those of Kozeluch and Krumpholz, which are also trivial and meagre. The bad would be too numerous to mention; but some notion may be entertained of their quantity when we state, that they stood comparatively in the same relation to Dussek which nine composers out of ten, who have appeared in print during the last fifteen years, now occupy in relation to Henri Herz, Thalberg, and Mendelssohn, respectively. Those musicians, indeed, have many sins to answer for, in the facility they have offered to common-place "slop-composers," to exaggerate and fatten on their mannerisms. Clementi, whose general style was somewhat pedantic, and whose learning could not be borrowed, found few imitators; so few that we cannot tax our memory for a single example. Nevertheless Clementi was decidedly an original thinker, and those who compare him with Mozart only declare them selves incompetent to understand either. Moreover, Clementi, at times, almost equalled the inspirations of genius itself, which, if we were writing an account of his works, we could prove by several examples.† By men of genius we can only understand those whose gifts of invention enables them to produce things that are at the same time original and beautiful. +We cannot resist citing the sonata in B minor, Op. 40-one of the finest works ever written for the pianoforte, PRICE THREEPENCE. STAMPED FOURPENCE Steibelt was another original, and perhaps a genius, though his style is not so individual as that of Dussek, whom he occasionally equalled, if not surpassed, in his ordinary flights, but never approached in his highest inspirations. To illustrate this opinion we may suggest that the concertos in E and E flat, of Steibelt, known as the Storm and the Chasse, are equal if nct superior to many of the earlier concertos of Dussek, but on the other hand, in a far greater degree of inferiority does Steibelt's longest and most ambitious sonata-that in E flat, dedicated to Madame Buonaparte-stand in relation to the Elegy (op. 61), the Invocation (op. 77), and other grand works of Dussek, which approach nearer to Beethoven than any sonatas for the pianoforte with which we are acquainted. Steibelt, however, was immensely popular, and many of his smaller sonatas may be safely taken as models. The pianoforte is, besides, indebted to him for a vast number of passages and effects of which later composers have availed themselves without acknowledgement. His studies, in spite of the strong resemblance of some them to those of Cramer, are also as excellent as they are useful. The name of Steibelt, then, must always have an honourable place in the history of the pianoforte. Woelf, was a composer of merit, and a musician of more than ordinary acquirement. He was original, but his originality is somewhat affected. Many of his productions have enjoyed a high reputation among musicians, and most especially a sonata in A flat, with a fugue. This sonata is decidedly a work of thought, but the fugue is quite as dry and laboured as it is ingenious. Woelf possessed great consideration in his day, but his writings appear to have had very little influence on his contemporaries, to whom his peculiarities did not offer a very tempting store for petty larceny or wholesale theft. The sonata in F-or rather fantasia, since the first movement alone is in regular form-called Ne Plus Ultra, was his most celebrated work, and is that which is best remembered now. At the time it was composed its difficulty was regarded as immense. One of the variations on the popular air, "Life let us cherish," in the last movement of the sonata, seems, by its skips of double octaves, to have anticipated a fantasia of Henri Herz on the romance in Méhul's Joseph. With all this, however, we are inclined to think that the greater part of Woelfl's compositions are likely to remain in oblivion, unless some future antiquarian shall valiantly step forward, and with the spade and shovel of enthusiasm, exhume them from the grave in which they long have mouldered. Of the other composers who flourished about this period there is little to be said. Their merits were small and their influence null. Some of them obtained a popularity as ephe meral as it was baseless. One of the most popular, however, and deservedly so, was Abbé Gellenek, who chiefly excelled as a writer of variations on favourite airs. He also wrote sonatas, • Which a writer in the Atheneum erroneously attributes to Mozart. |