The Press.
London, England, 1858-04-03 00:00:00

Blusit.

ST. JamEs's-usu.—A second concert for the benefit
of the Middlesex Hospital was given last Saturday
evening, tha programme consisting wholly of secular
music. A principal feature in the selection was
Mendelssohn's music to the Midsummer Night's
Dream. Beethoven's overture Leonora opened the
first part ; and the works of Haydn, Weber, Mozart,
Meyerbeer, Auber, and Donizetti furnished some-
thing for every taste, and contributed materials for a
most attractive concert. The principal vocalists
were Mme. Lemmens, Miss Dolby, Mme. Borchardt,
Miss Kemble, Mr. Weiss, Mr. Montem Smith, Mr.
Santley, and Signor Luchesi ; while Miss Goddard,
Signor Piaui, and Herr Molique contributed solos
on their respective instruments. Mr. Benedict con-
ducted, and the members of the Vocal Association
gave their assistance as on Thursday.

ST. MARTIN'S HALL.—On Tuesday evening Mr.
Hullah brought his series of Orchestral Concerts to
a conclusion with a Beethoven selection, in which
were included seven different works, arranged in
chronological order, and composed at various dates
from 1799 to 1824. The object of this scheme was,
of course, rather to display the gradual development
of Beethoven's style, than to convey any general
idea of his power. This would require, not a selec-
tion occupying some three hours in performance,
but a careful and diligent study of the greater portion
of his works ; or at the very least a succession of
concerts which could hardly be compressed into less
time than an entire week. We may gain an acquain-
tance with his wonderful endowments from his works
taken singly, but we must look at them alto-
gether to know the wealth of his mind. While
Turner was sending his landscapes to the Academy
two or three at a time everyone acknowledged him a
great painter, but how great no one knew till it was
possible to see at one glance the riches gathered
together at Marlborough-house. No seven pictures
that could be chosen would tell us what Turner's
mind was, bur seven pictures, if well chosen, might
give us some idea of his mind's progress. There
is something similar in the history of these two
minds—at least in the general outline. Here is Mr.
Hullah's selection from Beethoven :

1. Overture, "Men of Prometbus" 1799

2. Air, " rhe Call of the Quail " not later than 18U4

3. Air, " In questa tombs" not later than 1808
4. Choral Fantasia 1808

5. Trio, " Tremate"

not later than 1811

6. Overture, No. 4, " Fidelio "

.1814

7. Choral Symphony 1824

The choice has evidently been influenced by the ne-
cessities of the case. As the Choral Symphony is to
be included, it must stand last, and being of great
length and enarmous difficulty, all that precedes it
must be as light as possible, that both audience and
orchestra may not come to it already exhausted.
But let us take the programme as it stands. Every
man's life naturally divides itself into three periods
of youth, vigour, and decay, but in the lives of these
two ar►ists these three periods are found to be
strongly and, we think, somewhat similarly marked.
The overture, No. 1, belongs to Beethoven's youth or
student-life ;it shows in every bar the most careful
study, one might almost say imitation, of Mozart,
at that time the reigning genius. But this imi-
tation relates only to the style, not to the matter;
this is the young composer's own, otherwise the over-
ture would be long since dead. In the two airs,
Nos. 2 and 3, he is passing into his second period.
Here iv plenty of himself and very little of other
people ; but he has not ventured on anything very
startling, or done much to frighten quiet folks. The
trio, No. 5, though written at a later date, is con-
structed after established models, and shows a sort
of recurrence to his earlier style. Nos. 4 and 6 are
the productions of his greatest period—absolutely
his own—the works of a master, not a student—no
longer tied to laws, but making laws for others—
both full of fancy, the Choral Fantasia a miracle of
loveliness, a very Venice of beauty and grace. The
words we have ased would have served thus far
fur a brief sketch of the painter's life, but the re-
semblance we would point out is rather in the close.
Both suffered :he loss of certain powers, but neither
fell into weakness. They seemed to forget every-
thing they had received from others, and to retain
nothing but what was part of themselves. Instead
of falling in among those below them, they stood
more than ever aloof; never so utterly unlike other
men as when in decay. As all they possessed in com-
mon with others faded away, their merits and their
failings grew more and more prominent. Turner
never could draw the human form ; Beethoven never
understood the human voice; but both only from
want of will. Both had neglected the study; each
seemed to think it a matter that did not concern him;
but neither in his youth committed the wild extrava-
gances that marked his later years. What at
first was mere neglect, grew at last into a kind of
scorn. Turner insisted that men and women should
be as stocks and atones, and 6' wrung a neck with as

he twisted a bough." He laid on a
of colour, and called it Ariadne.
strained the human throat as if it had
catgut; marked some notes on a stave
against it "soprano;" it mattered nothing
passage belonged to no voice in the
every other instrument be under his
voice alone rebel? If it would not
break. In the earlier periods of tbeir
not been so; now the mind was not
the body was. The eye and the band
begun to fail, and deafness had
of the other. While their senses
they talked to us in our language; they
/tits intelligible to us. Now it is for
effort, let us try to see their works as
Look on that picture, try and feel
trying to express ; do not go nearer
figures, you will find nothing more
new, perhaps less. Stand further off;
make yours so too. He has told
of his dream, and he has done all be
you ; your mind must do the rest.
Choral Symphony; Beethoven has told
writing about ; follow his thoughts
~. three movements, but do not look
different in the last. It is not song ;
articulate song. Those are not
hear, they are only instruments.
. closely for the words, you will not
them; you have them before you, or
mind must suggest them. Words and
never much to him ; and now he has half
ern, do you forget them too. This is
be enjoyed indolently, not holiday
who would understand it must not be
recreation, but come with fresh and
resolved for study. It is something
' people (as foreigners are pleased
able to say that this ninth symphony
never lacks an audience in London,
who flock to bear it show unmistake-
hear it intelligently, because they
delight. The instrumental portion of
a went, on the whole, extremely well,
Fidelio overture was somewhat injured
intonation of the horns. The symphony
h great spirit; the scherzo especially
have been better rendered. The
considering the nearly impossible
music, was entitled to great praise,
necessary to say that Miss Goddard's
in the Choral Fantasia approached
perfection. Of the solo singing we

week has been a busy one in the musical
the concerts mentioned above, there
at St. Martin's-hall on Monday, the
by the Sacred Harmonic Society, at
. Wednesday, and secular concerts at
every evening by the English Opera
held the Lyceum last autumn, and
been making a tour in the provinces.
Harrison, and Mr. Weiss were the
-., excellent orchestra, under the direc-
Mellon, gave additional interest to these
• performances.
MAJESTY'S THEATRE.—The legitimate opera
-"rnmence immediately after Easter.
programme issued embraces some names
English public. That which will
greatest curiosity is Mlle. Therse
Titiens, the principal soprano of the Imperial
Opera, Vienna. Mlle. Titiens' repertory comprises
characters of the high dramatic class, such as Norma,
Lucrezia Borgia, Valentine (in The Huguenots), and
Donna Anna, and report speaks most favourably of
the power of her voice and the significance of her
acting. Mlle. Lucioni, a young contralto, and Sig-
nor Mattioli, a baritone, are also additions to the
staff. The principal favourites of last season—Mme.
Alboni, Mlle. Piccolomini, Mlle. Spezia, Mlle. Or-
tolan', Signor Giuglini, Signor Belart, Signor Bel-
letti, dcc.—are retained. Giuglini will undertake a
new character, that of Raoul, in The Huguenots, from
which great things may fairly be expected. Mile.
Piccolomini will also appear in a new part—that of
Luisa Miller in Verdi's opera. The opening opera,
The Huguencts, will be supported by a cast including
Mesdiles. Titiens (Valentine), Ortolan' ( the Queen),
Lucioni (the page), and Signori Giuglini (Raoul),
Delletti (St. Bris), Vialetti (Marcel), and Aldighieri
(Nevers). The scenery, by Mr. Marshall, is an.
nounced as "entirely new and original." The en-
gagements for the ballet are of the very highest
class. Mme. Rosati, who rules the worshippers of
choregraphic art in both Paris and London ; Mlle.
Pocchini, who at the commencement of last year
astonished the public b*', brilliancy and novelty
of her steps in La Es ; Mlle. Marie Taglioni,
long acknowledged as an idtial of grace and elegance,
and now principal dancer at Berlin ; Mlle. Boschetti,
renowned for the audacity of her movements—all
have a place in the programme. Besides these there
is a new dancer, Mlle. Anetta Orsini, from Vienna.
Signor Bonetti will conduct the band et the termi•

•• • • '
little remorse as he twi
shapeless mass of co
Beethoven strained th
been wire and catgut;
and wrote against it "s
to him that the passag
world. Should every o
control and the voice
bend, let it break. In
lives it had not been
weakened, but the hod'
of the one had beg'.
stopped the ear of th
were like ours they tall
made their thoughts in
us to make the effort, I
they saw them. Look
what Turner was tryin
to examine those figur
than you see now, pert
his eye was dim, mak
you the subject of his
can to show it you ; 3
Listen to the Choral S,
you what he is writir
through the first three
for something different
not, at least, anion'
voices that you hear,
Do not listen too close
be able to hear them;
if not, your mind mu
voices were never mud
forgotten them, do y
not music to be enjc
music; thoss who wou
looking for recreation
active minds resolved
for an unmusical peopl
to call us) to be able tx
of Beethoven's never h
and that those who fits
ably that they hear
bear it with delight.
the selection went, o
though the Ficlelio ov
by the false intonation
was played with great
could hardly have b
chorus singing, consi
character of the music
and it is hardly necessi
pianoforte solo in thi
very nearly to perfect
will say nothing.
THE past week has 1
world; besides the cot
was The Messiah at St.
same oratorio, by the
Exeter-hall on Wedm
Drury Lane every ev
Company which held
which has since been
Miss Pyne, Mr. Harr
stars," and an excellc
tion of Mr. Mellon, ga
Passion Week perform
HER MAJESTY'S Ts
season will commenc
The
programme iss
new to the Englist
excite the greatest
T Meng, the princip
Opera,
Vienna. Mlle.
characters_ of the high
Lucrezia Borgia, Valet
Donna Anna, and reF
the
power of her voic
acting.
Lucioni
Mattioli,
nor a barito