count, and they travelled together through Germany, Denmark, distinguished composers of the nineteenth century; doubtless, his Scotland. His first public appearance was in a concert at Dres-fame would have been still greater, had he not been the contem den, 1787; next he played before the court at Cassel. At Edin- porary of Beethoven. The general opinion has hardly estimated burgh, the child pianist created great enthusiasm; there he pub- his best works highly enough. His great septuor in D minot. lished his first work, a theme with variations, dedicated to the (Op. 74,) his quintet for piano, (Op. 87,) his concerto in A Queen of England. After spending the years 1791 and 1792 in minor, (Op. 85,) in B minor, (Op. 89,) in E major, (Op. 110,) and London, he visited Holland, and returned to Vienna after six in A flat, (Op. 113;) some of his trios for piano, violin, and vioyears' absence. loncello; and the grand sonata for piano with four hands, (Op. 92,) are works of a finished beauty, where all the qualities of the art of writing are united with noble or with elegant and graceful thoughts. But these qualities, beautiful and estimable as they are, cannot compete against those outbursts of genins, those original and overpowering conceptions of Beethoven. A fie composition of Hummel leaves in the mind the idea of perfection; but the pleasure which it causes frenzy. Had Beethoven come a quarter of a century later, he would have left to Hummel the undisputed glory of being the first instrumental composer of his age. In the dramatic style and in church music, Hummel also holds a high rank, though his works in these departments are not marked by any very distinctive quality.

He was then fifteen years old, and his execution could already be considered the most correct and brilliant of the German school; meanwhile his studies became more serious than before. His father, who was excessively severe, exacted incessant labour from him; and when he had become a man and famous artist, he was still subject to his will. At Vienna, he studied harmony, accompaniment, and counterpoint with Albrechtsberger, and formed a friendship with Salieri, who gave him hints about singing and the dramatic style. In 1803, he entered the service of Prince Esterhazy, and composed his first mass, which won the approbation of Haydn. About the same time, he wrote ballets and operas for the theatres of Vienna, which were favourably received. Hummel was now twenty-eight years old; his works, especially his instrumental music, and fine talent for execution, had rendered him famous in Germany; but his name was absolutely unknown in France, until the year 1806, when Cherubini carried home from Vienna his grand fantasia in E flat, (Op. 18,) which was executed at the concours of the Conservatory that same year, and, although only understood by artists, it so raised his reputation in Paris that all the pianists sought his works.

In 1811, Hummel left the service of Prince Esterhazy, and, until 1816, had no other employment than that of professor of the piano, at Vienna. Then for four years he held the place of chapelmaster to the King of Wurtemburg, and then entered the service of the Grand-Duke of Weimar, in the same capacity. Two years afterwards he obtained leave of absence to make a pedestrian tour in Russia. St. Petersburg and Moscow gave him the most brilliant reception. In 1823, he went through Holland and Belgium, and finally to Paris, where his success was worthy of his talent. His improvisations on the piano excited the liveliest admiration. Returning to Weimar, he did not leave that place until 1827, when he heard of the approaching end of Beethoven, between whom and himself there had been some unpleasant differences. He hastened to the bedside of the dying artist, and could not repress his tears; Beethoven reached out his hand to him, they embraced, and all was forgotten.

Two years afterwards, Hummel again visited Paris and London; but his playing did not produce the same sensation as before; pianists noticed the approach of age and a certain timidity of execution in his performance. After a journey to Poland, he passed the remainder of his days peacefully at Weimar. He died on the 17th of October, 1827, at the age of fifty-nine.

Hummel was equally distinguished as a performer, (on the piano), an improvisator, and a composer. In execution, continuing the mixed school of Mozart, improved by the regular principles of mechanism which he learned of Clementi during his two years in London, he became himself the founder of a new German school, in which many celebrated artists have been formed. The epoch of Hummel among the German pianists was a real epoch of progress and of transformation. Greater difficulties have been conquered, greater power and severity of tone have been produced in piano-playing since his time; but no one has gone beyond him in purity, regularity, and correctness of execution, in raciness of touch, in colouring and expression. His execution was less the result of a desire to display prodigious skill, than the attempt to express a thought continually musical. This thought, always complete, manifested itself under his hands with all the advantages of grace, delicacy, depth, and expression.

In his improvisations, Hummel had such power of fixing and giving regular form to his fugitive ideas and inspirations, that he seemed to be executing premeditated compositions. And yet there fas nothing cold or mechanical about it; the ideas were so felicitous, the manner so charming, the details so elegant, that his audience was lost in admiration.

Hummel's very remarkable pr oductions, especially in the sphere of instrumental composition, ha ye placed him in the first rank of

66

never amounts to

The works of this celebrated artist may be classed as follows:I. Dramatic Music.-1. "Le Vicende d'Amore," opera buffa in two acts. 2. "Mathilde de Guise," opera in three acts. 3. " Du Haus ist zu verkaufen," in one act. 4. "Die Rückfahrt des Ksers," in one act. 5. Eloge de l' Amitié," cantata with choruses. 6. "Diana ed Endimione," an Italian cantata with orchestra. 7. "Hélène et Paris," ballet. 8. " Sappho de Mytiline," ditto. 9. "Le Tableau parlant," ditto. 10. "L' Anneau Mugique," pantomime, with singing and dances. 11. "Le Combat Magique," ditto.

II. Church Music.-1. Mass for four voices, with orchestra and organ. in B flat, (Op. 77.) 2. Second Mass in B flat, (Op. 80.) 3. Third Mass, in D, (Op. 111.) 4. Gradual, (Quodquòd in orbe,) for four voices, orchestra, and organ, (Op. 88. 5. Ofertory, (Alma Virgo,) for soprano solo, chorus, orchestra, and organ, (Op. 89.)

III. Instrumental Music.-1. Overture for grand orchestra, in B flat, (Op. 101.) 2. Three string quartets, (Op. 30) 3 and 4. Grand Serenade, for piano, violin, guitar, clarinet, and bassoon, Nos. I. and II. (Op. 63 and 66.) 5. Grand Septuor, in D minor, for piano, flute, oboe, horn, alto, violoncello, and double bass, (Op. 87.) 7. Grand Military Septuor, in C, for piano, flute, violin, clarinet, trumpet, and double-bass, (Op. 114.) 8. Symphony Concertante, for piano and violin, (Op. 17.) 9. Concerto for piano, in C, (Op. 31) 10. Easy Concerto for piano, in G. (Op. 73.) 11. Third Concerto in A minɔr, (Op. 85.) 12. Fourth Concerto, in B minor, (Op. 89.) 13. "Les Adieux," Fifth Concerto in E major, (Op. 110.) 14. Sixth Concerto in A flat, (Op. 113.) 15. Brilliant Rondos for piano and orchestra, (Op. 56, 98, and 117.) 16. Themes Varies for piano and orchestra, (Op. 97, 115.) 17. "Le Cor enchanté d' Oberon," grand fantasia for piano and orchestra, in E major, (Op. 116.) 18. Trios for piano, violin, and violoncello, (Op. 12, 22, 35, 95, 83, 93, 66.) 19. Sonatas for piano and violin, (Op. 5, 19, 25, 28, 37, 50, 64, 104.) 20. Sonatas for piano with 4 hands, (Op. 43, 92, 99.) 21. Sonatas for piano alone, (Op. 13. 20, 36, 81, 106.) -22. Detached pieces for piano solo, viz.:-3 Fugues, (Op. 7;) Rondos, (Op. 11, 19, 107, 109; fantasias, (Op. 18, 123, 124;) Etudes and Caprices, (Op. 49, 67. 105, 125;) Variations, (Op. 1, 2, 8, 9, 40, 57, 118, 119, &c. 23. Complete Method, theoretic and practical, for the piano.

ITALIAN OPERA IN EDINBURGH.

(From the Edinburgh Advertiser.)

THE Theatre Royal presented a splendid appearance on Friday evening, graced with as brilliant an audience as ever assembled within its walls, the general effect being materially assisted by recent improvements, and the comfortable aspect of the house greatly aided by the new draperies. Ere the commencement of the opera, the Queen's Anthem was played, with an amount of instrumental power we never recollect hearing within that house on any former occasion.

TYOA

DRURY LANE

THE BAL MASQUE.

The work selected for the opening representation was La Sonnambula, in compliance with a generally expressed wish on the part of the subscribers. The cast was as follows:-Count Rodolfo, Signor Mancusi; Teresa, Signora Chierici; Elvino, Signor Bettini; Lisa, Signora Anglo s; Alessio, Signor Gregorio; Amina, Madlle. Crespi. Madlle. Crespi is a young lady of prepossessing appearance-handsome, with an expression of feature, look, and action that tells largely in her favour. Mdlle. Crespi's voice is a high soprano, of considerable range and power; but of the flexibility and cultivation it would, at present, be premature to judge. Throughout the piece, her acting gave evidence of considerable dramatic feeling. Mademoiselle Crespi made her first essay in Sonnambula on the above evening; she acquitted herself most creditably. In her desire to meet the wishes of the subscribers, she threw aside all consideration of self, and obligingly consented to make her debut in a piece she had never hitherto attempted. We cannot say she acted wisely in doing so. Bettini's personation of Elvino was graceful and gentlemanly in demeanour, and his efforts throughout the whole piece were highly successful. Count Rodolfo was played by Signor Mancusi. He has a baritone voice of good quality. His delivery of the aria "Vi Ravviso" was very acceptable; but a little less action while executing expressive passages, would prove more pleasing. The minor characters of Lisa, Teresa, and Alessio, were personated by the respective per-mand dances entirely original. Not a single old or wellformers above-mentioned, so as to contribute to the general effect; while the performance of the orchestra and chorus was more than could reasonably be expected, under all the disadvantages incident to an opening night.

"Casta

Norma constituted the performance of last night, and was most successfully gone through. Bellini's chef d'œuvre afforded scope for developing the resources of the operatic corps, and the high talent enlisted in it, the cast being as follows, viz.:-Pollione, Herr Reichardt; Oroveso, Herr Formes; Norma, Madame Caradori; Adalgisa, Madame Zimmerman; Clotilda, Signora Chierci ; Flavio, Signor Munetto. Formes, in his make-up as the highpriest of the Druids, was quite a picture, his large square form lending an imposing effect to the simplicity and grandeur of his costume. In the opening chorus, "Dell aura tua profetica," his tremendous organ towered above the united strength of the orchestra and the body of singers. No less startling and impressive was his delivery of the oration "Guerrieri! a voi venirne," and his denunciation of the Roman yoke. Madame Caradori's Norma was, in all respects, a finished impersonation, either as regards high dramatic talent or execution from a vocalist. Her voice is delightfully smooth, round, and full, with the most finished execution and correct taste to guide her in her efforts. The lateness of the hour, and the space allowed, will not admit of us enlarging as we could wish on her performances. We shall, therefore, particularise one or two only of her pieces. Diva," which we have long regarded as the sole property of Grisi, she gave with great effect, and brought down rapturous applause from all parts of the house. Again, in the scene where she discovers the faithlessness of Pollione, the terrible energy of tone, look, and action with which she enunciated the words, Mi lascia indegno," left an impression on her audience that cannot readily be forgot. In the last scene, ere she is immolated, her clinging to all that was dear to her on earth constituted an exquisite touch of nature, and established her claim to be regarded as a great histrionic as well as vocal artiste. Herr Reichardt makes an admirable Roman Proconsul, and looks the gallant soldier to admiration. Of his qualifications as a singer, we expressed ourselves favourably on his debut here nearly two years ago. (See Advertiser, 17th Feb., 1852.) And we have no reason to change our opinion. He is, beyond doubt, the best German tenor that has yet visited this country, irrespective of his dramatic talent, which is of a high order. His voice is of a peculiar resonant quality, which adapts it to the business of the stage, while his fervour in impassioned strains imparts the tenderness requisite to give effect to low passages. In our next we shall speak of him at more length. With the exception of a passage murdered by some among the brass instruments on the right of the orchestra, everything went well. The scenery was excellent, as also the stage appointments. Ere concluding, we must offer a word in commendation of Signor Orsini's tact and judgment in wielding the conductor's baton.

Mr. Smith made an extraordinary attempt on Monday night to fill up the vacuum left by Jullien in the world of amusements at this period of the year, by presenting the public with a masked ball. Extraordinary as the attempt was-and verily Mr. Smith is entitled to no small praise for his exertions-the Bal Masqué of Monday night was anything but a success. In the two grand elements of dancing-light and music-Mr. Smith's ball was, to a certain extent, deficient. Jullien's crystal curtain could have been dispens d with, but its place shou'd have been supplied by chandeliers or lamps. The house, so unsupplied, looked dim and life less, and made everything sombre. In the element of music, Monday night's ball was still more wanting. We do not know who Mr. Smith's conductor was, but we cannot afford him any praise for his selection of dance music. Pursumg the very opposite course to Jullien, and, indeed, to all his predecessors, this gentleman had executed under his comknown tune did we recognise the whole evening. Those hearty national airs-English, hish, Scotch, Swi s, Frech, &c., that whilom made our feet bound and our hearts jump, lay slumbering in the wood and strings. Even the opera and ballet airs were silent, and one heard their echoes. The dancers went mechanically through their steps, ́n in quadrille, galop, waltz, or poika, appeared exhilarated by no joyby no impression-by no impulse. There had been honest excuse, had the music been good as well as new. contrary, it was bad; or, at least, u suited to place, time, and purpose; and everybody felt dis ppointed and complained. Who the composer is we have no knowledge; but we trust we shall never be compelled to hear any more of his dance music. We say composer, for we feel certain, no two men could write with such unfailing dulness for such a length of time.

On the

The general government of the ball-room was highly creditable to Mr. Smith. Had Mr. Smith employed a less economic gasman, and a more politic conductor, there would have been little or no room for complaint. Should Mr. Smith ever indulge the public with a second Bal Masqué, let him look to a fresh gasman and a fresh conductor. He will thereby afford his visitors more light, and better music. The decorations were neat and plain, and the refreshment rooms were well served. There was no fault to be found with the stewards, whose neck-cloths were even whiter and more redundant than in the Jullien-and-Gye dynasty.

The ball-room was crowded, as was also the dress-circle and the galleries; but the private boxes showed a lamentable falling off from the last season. On the whole, we cannot compliment Mr. Smith on his first Bal Masqué. The direction of Balls is not Mr. Smith's forte. Let him not try his hand again before he obtains a little knowledge and a little instruction. Both would be worth obtaining.

Original Correspondence.

ORGANISTS' ASSOCIATION.

(To the Editor of the Musical World.)

Liverpool, Dec.. 19th, 1853. SIR,-I venture to address you upon a subject, which, I trust, will meet with the attention and support of abler hands than mine. I have often lamented and wondered why (

steps to assist each other in cases of misfortune or death. We read in the papers, from time to time, that such and such a person has been "cut off," leaving his wife and family destitute, or helpless in straitened circumstances, when, to the least reflecting mind, it will readily appear how such embarrassment might be obviated, by the general body of Organists forming themselves into an Association, for the mutual help and support of their wives and families. This, to me, appears preferable and more consistent with the noble calling of our "divine art," than by wounding the feelings of all sensitive persons, who are unfortunately placed in the position I have mentioned-viz., suffering from the loss of a dear husband, by publicly announcing concerts in behalf of the bereaved persons, and appealing to "adies and gentlemen who are willing to assist the fatherless and widow." Music exercises a powerful influence on the mind and whole character of a man,-it is an expansive application, and why should not its Professors work together for their own good, and the advancement of the science they cultivate. Suppose we, the body of musicians in general, were to form ourselves into an association for the purpose of supporting, or rendering assistance to each other in adverse circumstances, and that a fund should be raised by annual subscriptions, and other means, that may be deemed expedient, such as an annual performance of music on an unique scale, which would materially augment the funds. Then, indeed, would our noble and "humanizing art" be carrying out, in a legitimate manner, the great object of our benevolence, without wounding, in the slightest degree, its recipients, whose minds ought not to be depressed by anything that could be construed into humiliation. The cathedral singers have a society for the relief of themselves and widows-the commercial body have a very noble institution by which they give, in addition to other benefits, the children of their departed friends an education--other bodies have similar institutions; and why are we, the organists of England, without similar advantages? I have been led into the foregoing observations by the neglected and isolated position of musicians generally-surely something can and ought to be done to amend this, thereby inculcating the bond of friendship thoroughly amongst us. Perhaps it may be said, there is the "Royal Society of Musicians," therefore why need another association? Without pretending to know fully the advantages of such institution, and without meaning any offence, who has not heard of its exclusiveness? the blackballing of persons from no other apparent motive, than that of jealousy and narrow-mindedness? Any society to be of general value, must banish these ingredients of discord from its regulations; therefore I would not advise “any tail," to have utter controul of the association. I have proposed leave it open to the humblest Professor, let every musician be eligible, -organist or vocalist, &c., on paying his entrance fee and annual subscription; then should we, as a body, have a society of our own, that would tend to soothe the sorrows and cares of a deathbed, by knowing that those left behind are in a measure cared and provided for. I know how dishcult it is to put such a scheme as I propose on a footing, and not less so to state its bearings on paper; but I feel confident, that if a preparatory meeting was held by musicians in London, a sufficient number of sympathising brethren residing in the country, would soon be found willing to co-operate, and gladly give their countenance towards carrying out such a philanthropic object. Let our fortunate brethren, I mean those who golden harvest" by teaching, and likewise those who have desirable opportunities as organists, put their shoulders to the wheel, and assist in carrying a plan out, that could not fail of proving beneficial to their less successful brethren, many of whom are not receiving more than £30 per year, independently, in some cases, of a very slender addition made by the uncertain mode of teaching; therefore, under these disadvantages, it can easily be supposed, what chance a poor professor has of ameliorating his condition, or of laying by to meet any emergency that may arise. presumed to dictate how such a society as I have named is to be I have not governed; that, with other matters, must be left for further consideration. In the meantime, I shall, indeed, be truly glad, if atten tion is directed towards the object I have been attempting to advocate,-I remain,

reap a

Sir, yours obediently,

W. M. R.

CHRISTMAS CAROLS AND CHRISTMAS-BOXES.

(To the Editor of the Musical World.) MR. EDITOR, Your lively periodical appears to be read not only by music publishers and professors, but by the "Town Travellers" of the former; for I hear that your correspondence from the country, and my replying, have excited the "ivvace" of all parties, and been productive of much good to each of them. I have now got a word to say upon the subject of what are termed "Christmas Boxes," and should like to know the origin of the custom upon which this contribution is founded; as well as the present purpose to which the modern gratuity is applied. I know in what way the collections are disposed of by certain gentlemen (?) who, by the time Boxing-day is coming to a close, are themselves nearly unable to explain their particular errand, although they exhibit unmistakeable symptoms of where they have been to. 1 think I told you I had never received a douceur from others for attending to the interests of my employer; so I have never laid myself under the degrading obligation of accepting a "Christmas Box," or sold the independence or integrity which I hold in trust for those whom I have the honour to represent, to further my own private interests; and I do hope that my brethren will learn another lesson on Tuesday next in regard to the obsolete and unmeaning pauperism, so derogatory to their employers, as that of begging for money under the denomination of Christmas-Boxes! "Yours very faithfully,

Foreign,

QUI COLLIGIT..

PARIS.-Le Prophéte and Guillaume Tell were given on Monday and Wednesday last, at the Academie Imperiale de Musique. On Friday, M. Bonnehee, first pupil in the Conservatoire, made his appearance in the part of Alphonse, of the Favorite. His success was equal to his most sanguine wishes. His voice is good, well intoned and expressive; and his style pure and elevated. The part was never perhaps better played; and the new aspirant to lyrical honours has every quality necessary for success, proper regard being paid to the production of certain stage effects which cannot be overlooked with impunity, We may instance the close of the famous romance "Pour tant d'amour." Roger, in the part of Fernande, sang with his accustomed taste and dramatic feeling. Tedesco was as usual excellent.-On Sunday last, the EmpeMadame ror and Empress were present at the performance of Haydée, concert at Rouen, for the benefit of the creches, (cradles conat the Opera Comique.-Mdme. Wertheimber intends giving a structed in churches representing the nativity of our Lord.) She will sing several pieces of the opera repertory, and amongst the number the great air of La Favorite.-The Italian Opera has been giving Norma and Lucia. Mdlle. Parodi and Malle. Cambardi made a favourable impression as Norma and Adaigisa; but Ceresa, the new tenor, was scarcely up to the mark. Not that he wants voice; but he does not know how to make the most of it, and his gestures are, unfortunately, as bad as his singing. Lucia was a much better affair, and may be considered as one of the best nights of the season. Madame Frezzolini was first-rate; she was called before the curtain several times after the third act, and received a shower of bouquets and a crown of gold. Gardoni shared in her triumph, and evinced remarkable talent in the part of Edgardo. Both his acting and singing showed decided progress. Graziani, who appeared voice; although he has been only one year on the stage, he for the first time in the part of Ashton, has a good barytone may be considered as a very useful artiste; and we doubt not that he will make further progress.-Last Sunday, the thirtyeighth grand concert of the Menestrel took place in the Jardin d'hiver, for the benefit of the Society of Musicians. One of