58 
MUSIC AT HOME AND ABROAD. 
[Nature and Art, July 3, 1866. 
of King Arthur, which found no small favour some years 
since' — has now published, under the above title, a com- 
position which, in his own words, aims at being “ both a 
prose tale and a poem.” This may, at first sight, appear 
paradoxical, but is nevertheless true, as the following 
metrieo-prosaic extract may show : — 
“ But ’twas not life inanimate alone which made this place 
so pleasant to the sense. Each verdant patch sustained the 
antlered deer ; each velvet mead could boast its bleating 
flock ; while birds of varied plumage twittered by, or carolled 
hymns of love and praise to heaven.” 
Mr. Elwes tells us that the legend was composed to 
illustrate some sketches of chivalric subjects, made by a 
Leyden professor, and it may be fairly said that he has 
imbued himself with an appropriate feeling, which is re- 
flected upon his pages. Beautifully printed, and choicely 
got up, this elegant little experiment is at once a boudoir 
ornament, and, in its way, a literary curiosity. 
MUSIC AT HOME AND ABROAD. 
T HERE can be no doubt that the appearance of Madame 
Maria Yilda, in the character of Norma, has been one 
of the principal events of this year’s musical season. This 
lady is another proof of the truism embodied in the old 
proverb which informs us that “ There is as good fish in the 
sea as e’er came out.” When it was evident that the 
powers of certain once all-popular prime donne were on the 
wane, the croaking part of the community forthwith com- 
menced their lamentations, coupled with prophecies that the 
glories of the lyric stage were departed for ever ; and in- 
quired piteously who would ever sing the “ Casta Diva” like 
Signora So-and-So, or warble the part of Zerlina like Signora 
Somebody Else ! Well, the question has already been an- 
swered very satisfactorily by Madlle. Adelina Patti, Madlle. 
lima de Murslta, Madlle. Titiens, Madlle. Lucca, and a host 
of other ladies. Last in point of time, though not of talent, 
is Madame Maria Yilda, who is destined to fill a very 
eminent position in the operatic world. Indeed, she does 
so at the present moment. She sang, and found herself 
famous. It is long, very long, since such a voice has been 
revealed to the English public. The profound impression 
Madame Yilda created in Norma was increased by her im- 
personation of Lucrezia Borgia, in Donizetti’s opera of that 
name. 
Foreigners are very fond of saying that the English are 
not a musical nation. If such be the case, it must, at least, 
be admitted that we barbarous islanders adopt a strange 
method of showing our unmusical proclivities, for there is 
not a capital in the whole of Europe which can boast of such 
a galaxy of great singers and great 'players as London at 
this moment. These same singers and players do not exert 
their talents for nothing. Their terms are high, and yet we 
English cheerfully pay them, because we are — not fond of 
music. It is true that a vast number of these artists are 
foreigners, but what of that ? To say that an Englishman 
does not like music because the artists he patronises are 
not all native-born Britons would be about as absurd as to 
say he is not partial to his glass of port or sherry because 
those wines are not grown on the hills of Surrey or the 
downs of Sussex. The English nation not musical ! Why, 
it would require a book almost as big as Kelly’s London 
Directory to give anything like a complete list of the various 
musical performances, concerts, &c., which have taken place 
within the last month. We will not attempt the task. All 
we can do is to mention cursorily a few of the leading’ 
events. 
At Her Majesty’s, Gluck’s Iphigenia in Tauris has been 
excellently received. It was most magnificently interpreted 
by Madlle. Titiens, Sig. Gardoni, M. Gassier, and by that 
prince among singers, Mr. Santley, a very creditable pro- 
duction, by the way, of “ unmusical” England. Among the 
other operas performed have been Les Huguenots, Hinorah, 
Hon Giovanni, II Flauto magico, and Oberon — not a bad list. 
This theatre has received a great accession of strength in 
Sig. Mongini. Nor, while Mr. Mapleson has manifested j 
such laudable activity in his managerial capacity, has Mr. 
Gye been content to slumber on his laurels. First and 
foremost, it was he who introduced Madame Maria Vilda to 
the London public. Then, among his company for the 
present season are Madlle. Adelina Patti and Madlle. Lucca, 
Signor Mario and Signor Ronconi. In his programmes have 
figured the Africaine, La Sonnambula, Hon Giovanni, II 
Barbiere, Faust e Margherita, Lucia di Lammermoor, L’Elisir 
d’ Amove, and Fra Hiavolo, besides Norma and Lucrezia 
Borgia, already mentioned. What a list of rare chefs- 
d’oeuvre ! To say a word of how they are all executed, both 
by singers and instrumentalists, at both theatres, would be 
superfluous. With regard to the instrumental portion more 
especially, are not Signors Costa and Arditi the conductors p 
As for concerts, their number has been immense ; yet, 
despite of this, all that were worth attending were nume- 
rously attended by the unmusical London public. 
The threatening aspect of affairs at the present; moment 
naturally engrosses the attention of the continental public 
to a great extent, and the attendance at the theatres is 
not what it generally is. Still, this state of things is, in 
all likelihood, only temporary ; for, strange as it may 
appear, it is an undoubted fact, that never are theatres 
better filled than in times of war. Such has always been 
the case hitherto, and will probably be so for the future as 
well. We may, therefore, presume that the strains of 
Meyerbeer, Mozart, Mendelssohn, and a host of other great 
musicians of whom Germany has cause to be proud, will 
continue to delight the people of that country, even though 
their armies may be engaged in a suicidal conflict upon the 
field of battle. 
In support of this opinion, we may mention the report 
concerning the young King of Bavaria. His majesty, as is 
generally known, has taken a great liking for the “ Music of 
the Future,” as it is termed, and especially for that of the 
great prophet of the future, Herr Richard Wagner. Last 
year his majesty had Herr R. Wagner’s latest opera, Tristan 
und Isolde, got up in magnificent style, and produced 
“ regardless of expense,” to adopt a rather threadbare 
expression, at the Royal Opera House, Munich. This 
summer, war or no war, Herr Wagner’s two operas — 
Tannh'duser and Lohengrin, placed on the stage with equal 
magnificence as the work first mentioned — are to be per- 
formed in their original and unabridged form. Herr A. 
Niemann who is expressly engaged to sing in them, is 
to receive one thousand florins every evening he appears. 
Whatever difference of opinion may exist about the young 
king’s taste in art, there can be no doubt that his majesty 
is as “thorough” in his patronage of Herr Richard 
Wagner, as was the Earl of Strafford in his endeavours to 
substitute an absolute monarchy for whatever constitutional 
government England enjoyed in the seventeenth century. 
But, as a rule, kings and princes abroad are more lavish 
in bestowing marks of approbation on, or extending sub- 
stantial patronage to, musicians, than our sovereigns have 
been. It would take up a page or so of Nature and 
Art to give a complete, though merely nominal, list of 
all the composers, singers, and musicians honoured with 
crosses or orders in the course of a single twelvemonth, 
from one foreign potentate or another. Thus, for instance, 
some time since, the great pianist, Herr Joachim, in con- 
sequence of certain intrigues which were being carried on 
against him, threw up his post as Concert meister at the 
Court of Hanover. In a manner as honourable to himself 
as to the celebrated virtuoso, the King of Hanover appealed 
personally to him to resume his functions. Herr Joachim 
immediately responded to the appeal, refusing, at the same 
