12 JULY 1851, Page 11

Mendelasohn's Son and Stranger, which with some other posthumous works

of the author has been recently published in London, and has be- come known in our musical circle& by several private performances during the season, was brought out at the Haymarket Theatre on Monday. The composition of this little piece, which was never intended for the public, is an interesting example of that home-feeling so peculiarly German. The operetta was written in 1829, when Mendelssohn was scarcely twenty, during his first absence from home, when he paid a long visit to England and Scotland. Mendelssohn was never (as all his friends re- member) away from his family, whether owing to business or pleasure, without being " home-sick " ; and he diverted his mind by composing this " liederspiel," as an agreeable surprise to his parents when he returned to them. The libretto was written by Mr. Klingemann, of the Hano- verian Embassy, his friend and fellow-traveller. It was performed on the twenty-fifth wedding-anniversary of his father and mother, before a party of the relatives and friends of the family. It was ranch admired, but Mendelssohn would never consent to its being published; yet, though its posthumous publication may have been contrary to his wish, we can- not but be glad that the world has not lost so fine a specimen of his early genius.

The libretto, being a mere piece de circonstanee, is as slight as possible. The Mayor of a country town, and his wife Ursula, have been deprived by the conscription of their only son, who has not been heard of for years, and is lamented by them unceasingly. Their ward Lisbeth, too, has a fond remembrance of the boy who was her playmate and used to call her his little wife. The inhabitants of the town are about to celebrate a ju- bilee in honour of their worthy Mayor, who has held the office for fifty years. Two strangers make their appearance, separately : Kane, an im- pudent pedlar, the buffo of the piece ; and a young man in the orb of a travelling musician. The youth is the long-lost son, who has assumed this disguise in order to learn the state of his family before discovering himself. Of course his joyful recognition by his parents and his " little wife" forms the denouement of this simple story ; which is sweetly written, and not without liveliness. The translation is by Mr. Chorley. The music is charming, and, with Mendelssohn's still earlier work, The 1Vedding of Caniaeho, shows the dramatic bent of his genius. It is scored.for an orchestra ; a thing which in England would have shown an intention of public performance ; but in Germany an orchestra is easily got together even on domestic and social occasions. On such occasions, in this country, a pianoforte accompaniment only can be used. The whole work is stamped with the hand of a master. It is simple, as the treatment of such a subject ought to be, but by no means sight; for the concerted pieces, though perfectly clear and transparent, contain solid and admirable counterpoint. The overture is of a pleasing pastoral cha- racter; and, as arranged for two performers on the pianoforte, makes a charming piece for the drawingrooes. The whole operetta, indeed, is quite made for domestic use. The airs and duets are exquisitely melodi- ous and expressive, without presenting any great vocal difficulties ; and every part of the music is within the reach of well-instructed amateurs. Though the piece was never intended for the stage, yet the perform- ance at the Haymarket is more pleasing and successful than we could have expected. The operatic resources of the theatre are small, but Mr. Mellon, the able musical director, has turned them to the best account. Miss Louisa Pyne, in the character of Lisbeth, sings delightfully ; and her sister, a good musician, gives an agreeable effect to the little part of Ursula. Weiss, as the pedlar, sings and acts with animation ; and Mr. D. King sustains the part of the young soldier very respectably. Men- delssohn, having goodnaturedly wished to employ in his family perform- ance a friend who could not sing, wrote a capital trio, in which the Mayor's part consists of constant repetitions of a single note, producing a happy effect both .musical and dramatic. Mr. Lambert does this very well, and creates much amusement.

The performance went off on the first night with great spirit, and the piece will probably have a run; but it is as chamber music that Soot and Stranger will give permanent pleasure.