the same establishment, proved by his first work ("Maritana") that a new and formidable competitor was in the field. Under these circumstances the reception awarded to "Charles II." was the more flattering.
In the winter of 1850 the so-called "National Concerts" were held at her Majesty's Theatre by a body of noblemen and gentlemen. These, though announced as merely preliminary to some future scheme for a national opera, were substantially in opposition to the concerts of M. Jullien at Drury Lane Theatre. A large orchestra, containing the majority of M. Jullien's most reputed players, was engaged, with Mr. Balfe as conductor; and very liberal professions being made on the part of the directors, several English musicians of repute prepared works expressly for their concerts. Among these was Mr. Macfarren, who furnished "The Sleeper Awakened" (libretto, founded upon an incident in the "Arabian Nights," by Mr. John Oxenford), which, though styled a cantata, was written in such a manner as to insure its adaptability for the stage, should the contemplated "National Opera" ever see the light—an eventuality, as it subsequently appeared, the reverse of probable. Thus the "Sleeper Awakened," though one of the most essentially dramatic works of its composer, was only made known to the public through the medium of the concert-platform—in the style, as it were, of a comic oratorio. Its success was not the less remarkable. In 1851 Mr. Macfarren had finished a real cantata—set to an English version, by Mr. Oxenford, of Bürger's celebrated legendary poem of "Lenore." This was first performed in 1852, at the Royal Academy concerts; next, in 1853, at the concerts of the Harmonic Union, a new society, since defunct, directed by Mr. Benedict; and lastly at the Birmingham Festival of 1855, Mr. Costa being conductor. Five years later, another cantata, entitled "May-Day," for which Mr. Oxenford also furnished the poem, was produced with entire success at the second great musical festival held at Bradford, Yorkshire, in August, 1856. "May-Day" is the second of Mr. Macfarren's compositions in which the spirit of the old English melody is successfully emulated. Its merits were at once appreciated, both by amateurs and professors; and its subsequent popularity has been on a par with its deserts. At one of the concerts of the Musical Society of London (1859)—Mr. Alfred Mellon conductor—it was received with such favour that, urged to fresh exertion, with Mr. Oxenford again his collaborateur, Mr. Macfarren, some months later, had completed a third cantata, which was produced at one of the same society's concerts, in February, 1860. "Christmas," though a more elaborate composition, is conceived in much the same spirit as "May-Day," the ideas suggested by a poetical revival of old English games and pastimes giving the predominant colouring to the work. It was entirely successful; but having been heard in public on this one occasion only, it has yet to achieve the universal popularity enjoyed by its predecessor. That it will ultimately do so is the general belief of connoisseurs, who place it higher on the ladder of musical excellence than its hitherto more fortunate rival. "Christmas" was shortly followed by the thoroughly English opera of "Robin Hood" (libretto, by Mr. Oxenford), brought out—October 11, 1860—during Mr. E. T. Smith's brief career as director of her Majesty's Theatre. Opinions were unanimous about the merits of this work, which, successful almost without precedent, was performed, through the greater part of the winter, to overflowing houses. The three principal characters of Maid Marian, Robin Hood, and the Sheriff of Nottingham, were sustained by Madame Lemmens Sherrington (her first appearance on the stage, (Mr. Sims Reeves, and Mr. Santley. Mr. Charles Hallé, the eminent pianist, presided in the orchestra. In the winter of 1861 "Robin Hood" was produced by Miss Louisa Pyne and Mr. Harrison, at the Royal English Opera (conductor, Mr. Alfred Mellon)—Mr. Santley assuming his original part. Maid Mariann being intrusted to Mdlle. Guerabella, and Robin Hood to Mr. Henry Haigh. Since then Mr. Macfarren has nearly completed (in conjunction with Mr. Oxenford) another work, the title of which is understood to be "Helvellyn."
In the foregoing sketch allusion has been made only to the compositions which, chiefly instrumental in bringing Mr. Macfarren before the public, may on that account be regarded as successive stepping-stones in a career of no less industry than success. His other productions, nevertheless, are very numerous, and embrace almost every style. Many of them have been heard in public, and a still greater number have been printed. Five out of seven symphonies for the orchestra have been performed at various concerts, viz.—No. 3, in A minor; No. 4, in F minor (published as a pianoforte duet); No. 5, in B flat; No. 6, in C sharp minor (introduced at the Philharmonic concerts—also to be had as a pianoforte duet); and No. 7, in D (at the concerts of the since defunct Amateur Musical Society). The concert overtures for the orchestra are just as numerous. Of these, "A Midsummer Night's Dream;" an overture in E flat (unintituled); "The Merchant of Venice;" "Chevy Chase" (composed, together with some vocal pieces, for a drama of that name, presented at Drury Lane theatre); "Romeo and Juliet;" "Don Carlos;" and "Hamlet," have (like the symphonies) been given at various intervals, by the Society of British Musicians, the Philharmonic Society, the New Philharmonic Society, the Musical Society of London, &c. The most popular of these is the overture called "Chevy Chase," which—as well as "The Merchant of Venice" and "Romeo and Juliet"—has been published as a pianoforte duet; the most original and masterly, by general consent, is "Hamlet," which—with "A Midsummer Night's Dream," the overture in K flat, and "Don Carlos"—remains in MS. In chamber music Mr. Macfarren has been a scarcely less indefatigable producer. A quintet in G minor for pianoforte and string instruments (with double-bass), and a trio in E minor for the same, are engraved and published at Leipsic. The quintet has been frequently heard (Miss Arabella Goddard and Mr. Charles Hallé having played it on several occasions); the trio more rarely. There are also four quartets for two violins, viola and violoncello—the first and fourth in G minor, the second in A, and the third in F—one of which (in F) has been engraved. Two sonatas for pianoforte, solus—the first in E flat, the second in A, called "Ma Cousine"—both printed, and a variety of minor pieces, swell the catalogue. A concerto in F minor for pianoforte and orchestra also exists in MS. This was once, and only once, performed in public by Mr. W. H. Holmes, at the concerts of the Society of British Musicians. Not less prolific in the composition of vocal chamber music, Mr. Macfarren, besides a whole library of fugitive pieces, has published a number of songs, duets, and trios that are likely to endure. Among the best are his contributions to the British Vocal Album, his settings of Shelley, Heine, Schiller, and other distinguished poets; his "Arabian Night Songs;" and, perhaps more genial, vigorous, and original than all, his "Lyrics." Many of these have attained popularity, and the major part of them are instinct with the spirit of poetry. A variety of four-part songs and glees (among which latter may be specially cited a set of six, words by Mr. Macfarren, sen.) must be added to the catalogue of vocal-chamber music; also, an entire church service, composed for the cathedral church at Abingdon, and since introduced by Dr. Monk at York Minster, which has been unanimously praised. The harmonization of all the airs in Mr. W. Chappell's "Popular Music of the Olden Time," and the accompaniments to the separate volume of "Old English Ditties" (same editor), further associate Mr. Macfarren's name with the national music of England. "The Sleeper Awakened," "Lenore," "May-Day," "Christmas," "Don Quixote," "King Charles II.," and "Robin Hood" have been published in pianoforte score; as likewise some portions of the "Devil's Opera." Three other operas, which have never been produced upon the stage, remain in MS.: their names are, "The Prince of Modena," "Caractacus," and "El Malhechor." The one in progress ("Helvellyn") is to be produced at the Royal English Opera. In 1843 Mr. Macfarren established the Handel Society, "for the production of a superior and standard edition of the works of Handel." The council was composed of Mr. Addison, Mr. W. S. (now Dr.) Bennett, Sir H. R. Bishop, Dr. Crotch, Mr. J. W. Davison, Mr. E. J. Hopkins, Mr. G. A. Macfarren, Mr. Moscheles, Mr. T. M. Mudie, Mr. (now Dr.) Rimbault, Sir George Smart, and Mr. Henry Smart. Mr. Macfarren edited the oratorios of "Belshazzar," "Judas Maccabeus," and "Jephtha," in full score, with preface, comments, and independent organ part. It was for this society that Mendelssohn prepared his edition of the oratorio of "Israel in Egypt;" the most valuable, not only for its correctness, but on account of the preface and independent organ part supplied by its illustrious editor. Mr. Macfarren was secretary to the Handel Society—for which, within a short period, he obtained upwards of one thousand subscribers—until 1847, when the scheme was abandoned and the society dissolved. In 1860 he was appointed one of the board of professors for managing the Royal Academy of Music.
