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and fresher voices. The ballad-opera is no more, and to be a mere ballad-singer is now the aim of none of our artists. All desire to be great and grand, in'place of simple and engaging. The desire is not to be discommended; but it too often comes to pass that a young lady or gentleman, who has a fresh and beautiful voice, possessing more feeling than energy, greater delicacy than force, a larger amount of tenderness than dramatic fire, with full powers of sostenuto and small powers of execution, rushes into the classical and the bravura style, and so a perfect ballad-singer is lost for ever to the world and a respectable artist substituted.

THE new edition of M. F^tis's Biographic Universelle dcs Musiciens is, in almost every respect, a vast improvement on the old one. One of the recent articles relates to that very popular dramatic singer, Cliollet, who was much admired in this country, even when past the zenith of his powers.

Chollet, it appears, was the son of a chorus-singer at the Opera. Born on the 20th of May, 1798, he was admitted a pupil of the Conservatoriura of Music in the month of April 1806. There he applied himself to the study of the violin and the solfeggio. Shortly after, his course of study was suspended, but subsequently resuming it, he obtained a prize for solfeggio in the competition of 1814. The Conservaforium being closed in 1815, in consequence of political events, Chollet not long after this became a chorus-singer at the Opera; thence he went to the Italian Opera, and, lastly, to the Feydeau Theatre, where he remained until 1818, and finally accepted an engagement with a troop of country actors. A good musician, and gifted with an agreeable voice, though little experienced in the art of singing, he made up for want of scientific acquirements by great intelligence and address. His voice at this time was of deeper tone than was subsequently the case; its character was that of a baritone, for in the list of the company at Havre, in 1823, he figures as engaged to take the parts of Martin, Lais and Solli«S. He was then called Dome Chollet. Being engaged in the same capacity at Brussels in the year 1825, on his way through Paris, he appeared at the Opera Comique, where he was much applauded, and obtained an engagement for the year 1826, as a salaried actor. Accordingly he returned to fulfil his engagement, and his debuts were so brilliant, that he was admitted an associate (societaire) at the commencement of the following theatrical season in 1827. Composers were eager to write for him, and from that time he gave up baritone for tenor parts, to which latter he confined himself exclusively. The first who wrote a part for him of that character was Herold in his opera of Marie. Then followed La Fiancee, Fra Diavolo, Zampa, and some other works, providing him with a stock of parts, in all of which his success was brilliant. The public listened to him with pleasure, although in Paris lie never exercised that attraction which has the effect, when the name of an actor appears in the bills, of filling the theatre with a dense crowd.

On the dissolution of the Society of Actors of the Opera Comique, Chollet was engaged by the management which succeeded ; but the failure of that enterprise having left him free to dispose of himself, he seized the occasion to make a tour and exhibit his powers in the principal cities of France. Engaged as leading tenor at the principal theatre in Brussels, he made his debut there in April 1832, and continued there until the spring of 1834. He now proceeded to the

Hague, where he was employed in the same line of parts. In the month of May 1835, he returned to the Opera Comique in Paris, and remained there for a succession of years. At a later period the management of the theatre at the Hague was confided to him, and during the term of his management the King of the Netherlands treated him with marked favour. Suddenly, however, Chollet threw up his post and returned to France. Since then he has appeared in London (at the St. James's Theatre, when under Mr. Mitchell's direction), and once more at the Theatre Lyrique in Paris. While in Brussels Chollet met with frantic applause; no such vogue attended him in Paris, where, nevertheless, the public was well disposed towards him.

Endowed with qualities which might have ensured him a superior talent had his vocal education been carefully attended to, Chollet possessed more dexterity than real skill, more manner than style. He would sometimes deliver his notes with an abruptness savouring almost of affectation; and as often altered the character of the music by varia tions of tempo or the introduction of a multitude of cadences {points oVorgue), for it was especially in such embellishments that he made a display of his head notes. The study of vocalisation was the point in which he was wanting, so that the production of his voice (mise dc voix) was defective, and he never executed an ascending scale otherwise than in an imperfect manner. Notwithstanding these defects, the charm of his voice, his knowledge of those things which pleased the public, and his self-possession as a musician, enabled him to produce more effect than singers of greater ability unpossessed of these advantages.

Chollet has composed romances and nocturnes, which have been published in Paris and Brussels, and in some instances have met with success.

M. Van Pbaag. — This most able and obliging of concertagents and managers of balls, soirees, &c, has issued his annual circular, wherein lie apprises his friends that he has taken up new quarters at 71 Wardour Street, W., where he will be most happy to hear from them, engaging himself, by his zeal and unremitting attention, to deserve that confidence at the hands of his patrons which has been bestowed on him for many years. We endorse, without hesitation, the document of M. Van Fraag, knowing him to be every way experienced and trustworthy in his business, and no less eager and willing to serve those who employ him.

M. Vieuxtemfs' makes his last appearance this season on Monday night, at the 76th Monday Popular Concert. On Tuesday lie starts for Rotterdam, being engaged to make the tour of the principal musical societies in Holland.

Herb Joseph Joachim is daily expected. He will first play at the 77th Monday Popular Concert, then at the first Philharmonic Concert, and then (his own Hungarian Concerto) at the first concert of the Musical Society of London.

M. Depeet.—The report that this singer had died in Italy, turns out to be a canard. M. Dejiret is at this moment sound of wind and limb, and enjoying himself at Florence. Also, rumour recently slew llerr Schultz.

Mb. Louis Jullien.—" On dit," that this year we shall have a new aspirant to public favour in the person of Mr. Louis Jullien, the son of the renowned musical conductor, who formerly was associated so much with the entertainment of the public in the production of the most interesting and popular concerts of the day, viz., "Jullien's Promenade Concerts." From what we have heard, we anticipate a repetition of promenade concerts as they were, combining all the talent, musical effects, and novelties of former days.

Postponement or The Bradford Triennial Musical FestiVal.—A special meeting of the general committee of the Bradford Musical Festival of 1859, was held at St. George's Hall on Tuesday, for the purpose of determining on the course to be adopted with reference to the next festival. There were about fifty present. Mr. Aid. Brown, chairman of the general committee, presided, and explained that he'had called the meeting in order that they might confer as to the desirability of holding the festival this (being the triennial) year; but taking into consideration the great attractions of the metropolis, such as the International Exhibition and the Handel Festival of three days, to be held at the Crystal Palace in June, he was of opinion, like many other gentlemen connected with the town, that there would be no hope of holding the Festival with any prospect of advantage to the Infirmary.—The Rev. Dr. Willis, the Rev. Dr. Campbell, and other gentlemen expressed a similar opinion; and Dr. Campbell moved the following resolution, seconded by Mr. John Barraclough, and unanimously passed :—" That in consideration of the holding of the International Exhibition in London, it is not expedient to hold the Triennial Musical Festival in Bradford during this year; but, in furtherance of the general understanding that a musical festival should be held in Bradford every three years, the committee do now adjourn till January next year, to take such preliminary steps as then may be deemed expedient, for holding the festival in 1863."

St. James's Hall.—A concert was given on Tuesday in aid of the Hartley Colliery Accident Fund, which attracted a brilliant and overflowing audience, notwithstanding the advance in the terms of admission. The artists, all of whom tendered their gratuitous services, included, among others, the attractive names of Titiens, Giuglini, Arabella Goddard, Sainton-Dolby, Weiss, &c. The Vocal Association, too, under the direction of Mr. Benedict, gave their services, and supplied some favourite pieces by Mendelssohn, Auber, Bishop, Handel, &c, honourably distinguishing themselves in all. Mlle.Titiens sangSignor Arditi's " II Baccio," a German Lied, a duo with Mad. Lcmairc, and the popular duet "II suon del arpi angeliche," from Donizetti's Martiri, with Signor Giuglini, all in her most splendid manner, and creating quite a furor in tho first and last, which were encored. The one solo, "M'appari tutt' amor," which fell to Signor Giuglini, w:is unanimously redemiuulcd, when he sang " Spirto gentil" instead, with no less effect than the romance from Martha. In tho trying scene from Mr. Benedict's Undine Mr. Wilbyc Cooper sang like a true artist. Mr. Weiss, too, displayed his remarkable powers in Schubert's "Wanderer," and "The village blacksmith." Two songs from the Puritan's Daughter," My own sweet child," by Mr. Lewis Thomas, and " Bliss for ever past," by Signor Burdini, were both commendable performances; while Mad. Sainton-Dolby's chaste and cxpressivo reading of "The Lady of tho Lea " was entitled to all praise. M. Sainton achieved an irresistible encore in his fantasia on Scotch airs, and Mad. Lemairo gave "Nobil Signor" and "Ilsegreto" in her best manner. Last not least, Miss Arabella Goddard's incomparable playing of Thalberg's "Last rose of summer" enchanted the audience beyond measure. How the performance was received we need not say. Messrs. Howard Glover, Ganz and Benedict conducted the concert, being under the direction of Mr. Maplcson, to whom belongs tho credit of its origin and organisation.

On Wednesday the Hall was again occupied lor charitable purposes, tho Infirmary for Consumption and Diseases of the Chest being the motive power for the display of that virtue which is said to cover a multitude of sins. Mad. Sainton-Dolby, Miss Arabella Goddard, Messrs. Sainton, Cooper and Weiss were once more the principal artists, and repeatod the same morceaux which was given at the previous concert. In addition Miao Augusta Thompson sang "Qui la voce," from IPuritani, besides joining in two quartets; Mr. Brinley Richards performed two pianoforte solos, "Ethel" and a " Tarantelle," while Mile. Georgi, who made her debut at Mr. Howard Glover's concert, if we remember rightly, exhibited a pleasing voice and much promise in the airs, " 0 mio Fernando," "Floating over the waters," and "O bid your faithful Ariel fly." The West London Madrigal Society contributed the following pieces:—" All ye who music love," "Lady fair let golden sleep," "O who will o'er the downs," "When April deck'd," "Cheer up companions" (encored), "T'other morning very early," and "Spring's delights," all fairly sung and warmly applauded. Messrs. Benedict and Lake were the accompanyists. The room was well filled despite the miserable weather, and, as in the former cace, the concert was a decided success which must add something considerable to the funds of the Infirmary, thanks to the generosity of the performers who again tendered their valuable services gratuitously.

The Concert given at tho East and West India Dock Company's Literary Institution, on Wednesday, was under the direction of Mr. George Tedder, who was assisted in the vocal department by Miss

Poole, Mad. Bishop, Mr. Henry and Master Edwin Sanders, and in the instrumental by the Brothers Shapcott, who played selections from operas by Donizetti, &c, &c, on tho " Silver Neo Horns." Mr. Henry Farkor was the accompanyist. Previous to the concert, Samuel Grcgson, Esq., M.P., the chairman of the West India Dock Company, addressed a few words to the audience, begging them to refrain from encoring the different pieces in the programme, as it would extend tho concert to an unreasonable length. Notwithstanding the good advice of the worthy M.P., repetitions were insisted on of the "Last rose of summer;" song (Mad. Bishop) "Will you for a soldier go?" by Miss Poole; and "The Bay of Biscay," by Mr. George Tedder. Tho last named, indeed, pleased so much, that it was doubtful whether he would not be obliged to sing it a third time.

Strand Theatre.—On Thursday night a very lively farce, written by Mr. J. P. Wooler, and entitled Orange Blossoms, was produced with a degree of success remarkable even in these days of universal approbation. The title points to matrimony, and the violent propulsion of a determined bachelor into tho holy state is the subject of the plot. Mr. Septimus Symmetry (Mr. J. Clarke), exulting in tho independence of single life, is a professed hater of the fair sex, and scorns the idea of becoming a Benedick, notwithstanding the circumstance that, by the terms of a deceased uncle's will, he will forfeit his extensive estates if he does not take to himself a wife before he has completed his 35th year. Colonel Clarence (Mr. J. W. Kay) and Mr. Falcon Hope (Mr. Belford) ho regards as mortal foes, simply because they bring their wives (Miss Bufton and Miss Kato Carson) into his house, and thus encumber his premises with two lively specimens of womankind. He resolves, therefore, to work them a mischief, and his discovery that in early days Colonel Clarence aspired to the hand of the future Mrs. Hops, while Mr. Hope honourably wooed tho future Mrs. Clarence, enables him, with the aid of a little exaggeration, to destroy the happiness of two couples at once. Words run high between the Colonel and the civilian, but the mischief-maker is not allowed to havo his own way, for tho two Othcllos soon find reason to believe that their mutual jealousy is misplaced, and that their common Iago is also their rival in the affections of their wives. To escape a double duel, Septimus accepts the condition imposed upon him by the husbands, which is to the effect that he shall immediately marry Hope's cousin Louisa (Miss Fanny Josephs), an eccentric young lady, familiarly known by the name of "Little Loo." By affecting a hatred for matrimony, "Little Loo" has already made some impression on the heart of the woman-hater, and when he consents to take her. for a wife he is refreshed by the discovery that she is the person to whom his estate would have passed if ho had remained a bachelor beyond tho prescribed period.

Tho circumstance that Mr. Symmetry is a despicable, malicious poltroon, half demon and half idiot, does not in the least lessen tho diversion afforded by the farce. The author has simply endeavoured to get up a genteel " row" among a set of well-dressed personages, and his plot, in spite of its improbability, is rendered highly entertaining by his own smart dialogue and the very lively acting of the compact Strand company. It should bo added that the action takes place in front of an exceedingly pretty scene, representing the garden of tho principal personage.

Olympic Theatre.—On Monday night Mr Oxenford's capital farce, Retained for the Defence, was revived, and Mr. Robson, after a long interval, resumed his favourite character, Pawkins. In delineating this plebeian victim of circumstantial evidence, Mr. Robson presents one of those types of low life on which he has partly based his great reputation ; and among the amateurs of humorous acting Pawkins takes his place with the Wandering Minstrel and the Boots at the Swan. Mr. Neville has become a member of the Olympic company since the last performance of the piece, and he represents the barrister, Mr. Whitewash, not only with his usual gentlemanlike case, but with a forensic assurance that gives individuality to the part.

Death Of Mrs. Bradsiiaw.—This once eminent vocalist, known to the elder generation of playgoers as Miss M. Tree, died on the 16th inst. In the old days of English ballad-opera she stood in the highest rank of her profession, and in the musical adaptations of Shakspeare's plays, which were common many years ago, she wns frequently associated with Miss Stephens. Her retirement from the stage, consequent on her marriage with Mr. Bradshaw, occurred so long siuce, that to modern amateurs of music she will seem to belong to a remote past, and to exist only in honourablo tradition. Thirteen years have elapsed since the death of Mr. Bmdshaw, and she has left one child, a daughter, who is married to Mr. H. Langlcy, formerly of the 2nd Guards. Mrs. Bradshaw was the eldest sister of Mrs. Charles Kean, and in consequence of her death Mr. and Mrs. Kean have not performed at Drury Lane Theatre during the week.

"§XQbiruhl.

The following is an extract from The Leeds Express of this day:—

"To the committee of gentlemen who organised the Messiah performance on S.iturday last, in the Leeds Town Hall, much praise is justly doe — for, in addition to the opportunity thus afforded our lo:-ul musicians of showing their heartfelt interest in tho cause of a noble charity,—they were instrumental in procuring tho services of a distinguished foreigner, who for the first time essayed the soprano music of Handel's great oratorio. Mile. Titiens readily transferred the weight of her name for the benefit of our local institution, when it was found that the Hartley Colliery Fund—to support which she had originally been appealed to for her gratuitous services — needed no further assistance. No less acknowledgment is due to Miss Carrodus, Mr. Inkersall, Mr. Brandon, Mr. Haddock and his band, Mr. Burton, Dr. Spark, and the members of the Leeds Madrigal and the Leeds Festival Societies — all of whom willingly placed their abilities at tho disposal of the managing committee. We have stated that Mile. Titiens, for the first time undertook the soprano music of the Messiah; and at the present time, when a vocalist to supply the place so long held by Mad. Clara Novello in the oratorio school is wanted—the event is of more than ordinary interest. It is but following an ordinary expression in criticism to say that Mile. Titiens created a profound sensation. Her singing indeed touched the hearts of all present. Miss Carrodus, Mr. Inkersall, and Mr. Brandon, in their respective solos, sang with care and efficiency. The band was, in most respects, admirable—the strings being superior to anything we have heard for some time in Leeds ; the wind instruments, however, were as usual, a little under the mark. The chorus once more proved, if such a proof were necessary, the thorough competence of our Leeds singers (with a little additional strength in the soprano and alto departments) for the finest performance of any complete musical work. Whilst the popular choruses 'For unto us' (encored) and the 'Hallelujah' received the greatest applause, we must specially notice the chain of fugal choruses, commencing 'Surely He huth borne our griefs.' Dr. Spark played tho accompaniments to tho recitatives on the soft stops of the organ. At the close of all the songs, tho organ was employed ; and also at the end of the ' Pastoral Symphony.' Mr. Burton conducted. The attendance was exceedingly good, and we believe a respectable sum will be handed over to the Treasurer of the Leeds New Infirmary."

The production of Mr. Howard Glover's operetta, Once Too Often, at the Free-Trade Hall, Manchester, is noticed at length in the Examiner and Times of Monday. The writer commences by saying —

"We have long been of opinion that English taste and feeling inclined to the comic rather than the serious character of operatic music, and that we only want the experiment fairly tried by some of our best English composers to secure a successful result. It was. therefore, with no slight gratification that we found on Saturday evening last so large an audience gathered in the Free-Trade Hall, and heartily enjoying the performance of Mr. Howard Glover's latest production, entitled Once Too Often."

With this opinion we in some respects agree. Of Mr. Glover's music the journalist thus speaks :—

"The composition of this little work is decisive as to the true direction in which Mr. Glover should employ his rare musical talent. There is originality of melody throughout, and of that special quality which follows you home, and lingers in memory, and which you are sure to hear sung in every drawing-room, and most probably brought still nearer to immortality by the street organ of the dark-eyed Italian boys. Among tho airs especially worthy of notice we would select the Romance, 'A young and artless maiden,' sung by Hcrr Reichardt with a refinement and delicacy of style which he has of late approached in a manner unsurpassed by any modern vocalist. 1 Love is a gentle thing,' is another of these charming ballads, to which Miss Emma Hey wood did ample justice. The songs allotted to Blanche, equally graceful in character, are marked with deep and earnest feeling; 'The solemn words his lips have spoken,' with its brilliant second movement, "Now all anxious doubts,' gained for Mad. Bauer a warm encore. What shall we say of the genial-hearted, rollicking Formes? and who, having witnessed his Marcel or Bertram, could anticipate such broad, unctuous humour as he contrived to throw into the Baron Fompernik? The composer haa evidently studied the natural and artistic qualities of the great basso,

and the result is a rare combination of music and histrionic power. The buffo duet with the Count, 'Fompernik, full well you know'— in which there is the repeated exclamation, 'What a wonderful man I'— called forth hearty laughier; the change into a delicate melody, 'Her loveliness and artless youth,' adding greatly to the effect; whilst the aria buffa, 'In my chateau of Pompernik,' is one of the best songs of its kind to be found in modern opera of any school."

The reopening of the Town Hall at Greenock, according to the local journals, was a most brilliant affair. A concert, consisting principally of choruses from the oratorios of Handel and Mendelssohn, under the direction of Mr. J. M. Hutcheson, was given by the Choral Society, Mr. E. T. Chipp, from London, and Mr. G. T. Poulter, town organist, presiding at the organ. The Choral Society of Greenock is not only a well-organised but a highly influential body. It emphatically represents the musical taste of the town, and to its exertions the public are mainly indebted for the new organ and the improvement and decoration of the hall. The Greenock Telegraph thus describes the alterations effected in the building, and the additions in the way of ornament, &c, which have been mnde in the interior:—

"The Hall i3 now a complete change from the cold, comfortless du«ty and dreary appearance it had until a week or two ago. The gallery front has been painted a light green, with gilt mouldings; the front of the boxes is of a rich maroon, overlaid with green painted fretwork hatched with gold. The organ screen has been decorated in a style corresponding with the beautiful arabesques on the front pipes, and in small panels are emblazoned the names of Handel, Haydn, Mozart, Bach, Beethoven, and Mendelssohn, with medallion portraits of the two principal composers, and in a panel above the key-boards is displayed the name of the builders—Messrs. Forster and Andrews. The appearance of the hall as a whole was magnificent, — the platform clustered with gentlemen and gaily-dressed ladies, the beautifully decorated instrument towering behind them, the galleries and back of area crowded, in the boxes a brilliant throng of ladies and gentlemen, principally in evening dress, while the light thrown by the many chandeliers above the galleries contributed to make the tout ensemble most imposing and agreeable."

A second concert was given tho following evening, consisting entirely of organ performances by Dr. Chipp and Mr. Poulter. The proceeds of both concerts are to be distributed among the charitable institutions of the town. The organ playing of Dr. Chipp created an almost unprecedented sensation, as was proved by the overture to Masaniello being redemanded with acclamations.

A correspondent from Bath writes as subjoined:—

"At Mr. Simm's morning and evening concerts, at the Assembly Booms, on Saturday last, M. Ascher played the following pieces of his own composition:—'Alice' (romance) j 'Hondo des Elves ;' ' Sans Souci' (galop); 'Fantasia on airs from Dinorah;' 'Gardez cette fleur,' and 'Galop Brillant.' M. Ascher, with a true feeling for art, unites a rare facility of execution, attracting no less by the grace than the brilliancy of his compositions. His playing exhibits singular ease in passages of rapidity, together with extreme delicacy, especially in the management of the diminueudo, seldom attained."

Saunders' News Letter gives an account of the" last concert of the Philharmonic Society in Dublin, at which the "Sisters,Marchisio" were introduced for the first time to an Irish ^audience. They also appeared at two other concerts in the..Ijp.'&'rtf'f*'' Pne morning and one evening, and drew enormous audiences. -"Their success has led to a second engagement, and they return next week and give yet two more concerts in Dublin. M. Vieuxtemps, who accompanies the " Sisters" in their tournte, has shared largely in their success, and is lauded to the skies by the writer in Saunders. Master Arthur Napoleon, the young pianist, and M. Lamory, the violoncellist, are also mentioned in terms of praise.

From the Torquay Directory we learn that Mad. Louisa Vinning gave a concert in the Bath Saloon on Wednesday morning, the 29th of January. The attendance was large, and the concert eminently successful. What the above-named journal thinks of Mad. Vinning, may be gleaned from the following : —

"We rejoice to find that Mad. Vinning retains her wonderful power and sweetness of voice, qualifications seldom blended except at a sacrifice of one or both. The Italian cavatina displayed her dramatic execution, but we delight much more in those simplo English songs, which test the hidden pathos of the singer. The lips are but the portals of the heart, and singing is the highest manifestation of what dwells in the soul within. We believe Mad. Vinning's success rests mainly on a heart, warm, simple and true, of which her voice is only the expression. What is true must be loved, and must carry with it its own charm j and there is a triumph for true hearts, which the greatest genius cannot secure, not the noisy triumph of applause, but the far moro lasting triumph of life-long friends."

The same journalist speaks enthusiastically of the pianoforte playing of Miss Jane Jackson, who he affirms, is considered by competent judges equal to any pianist of the day.

fitters to % etiiox.

DR. WESLEY'S FUNERAL ANTHEM.

Sir,—I was very pleased to see your notice of Dr. Wesley's anthem, "All go unto one place," in memory of the lamented Prince Consort. It is a very fine composition, and, what is a great treat in these times, an original piece of writing. Yet it is simple enough for any choir who can sing notes as they are written, and who are willing to try something beyond the humdrum puerilities which are often worked thread- bare by those competent to essay music of a higher order. Let every musician purchase the anthem and judge for himself whether the modulations are not most striking and original. At the same time the parts flow smoothly enough for the majority of our parochial choirs, who, in their present improved state of efficiency, are not bound hand and foot and throat to the ground, by the bonds of the common "chord." The modulation, or rather progression, from the chord of B major to that of C natural major, which occurs on the words "Eternal in the heavens," has a most beautiful effect. The unison passage for tenors and basses which opens the anthem is striking and masterly, and so, indeed, is the whole anthem. It is a treat, indeed, to meet with anything so new. Dr. Wesley is as original in writing as he is in playing: both are his own. I am sure that all musicians, organists and choirmasters will thank you for your notice of the anthem, and will be delighted to possess such an original and appropriate memento of the illustrious l'rince.

I hope you will do me the favour to insert this letter in the next number of your journal. Indeed I am sure you will have pleasure in allowing your columns to be the medium of paying a mark of respect to the genius and consummate talent of Dr. Wesley.

Thomas Lloyd Fowls, Mus. Doc. M.A.

London, \2th Feb. 1862.

LIVES OF HANDEL AND BEETHOVEN.

Sir,—" Figaro "means the translated edition of Schindler's Beethoven, and also the translated edition of Chrysander's Life o f Handel.

[Chrysander is not translated. We believe the translation of Schindler was published at Bentley's,—Moscheles was the editor. It is, however, to be ascertained at any publisher's.—E».]

Herr NAmcn, the well-known trombonist, has left London for the purpose of giving concerts in Paris and Orleans.

Dr. Gilbert And Miss Parry.—A correspondent, writing from Leipsic, says :—" Dr. Bennett Gilbert, from London, presented himself at the Conscrvatorium last night (the 2nd ult.), and brings with him his pupil, Miss Carolina Parry, a charming young soprano, of seventeen or eighteen summers. We had the satisfaction of hearing her in the grand aria from Freischiitx, ' Wie nahte,'and also Donizetti's ' L'amor suo.' This young lady is to sing at the grand levees about the 12ih of this month, and there is little doubt about her success. She brings here the best recommendatiouz from such men as Kapelmeister Dessoff (of Vienna), Julius Reitz, &C. j enough to secure her the first position on the continent."

Croydon. — The entertainment in connection with the Literary and Scientific Institution, which took place at the New Public Hall on Thursday evening week, was a significant success. The hall doors were besieged by crowds long before the hour for opening, and many could not obtain admittance. The singing of the Orpheus Glee Union was greatly applauded. Mr. George Russell, the talented pianist, played the Andante and Rondo Capriccioso of Mendelssohn, La Cascade of Faucr, and " Home, sweet home " of Thalberg. At the conclusion of each solo Mr. Russell was enthusiastically applauded, and the performances encored — a compliment which he merely acknowledged with

bows. Such an entertainment as this is a credit to the Literary and Scientific Institution.

Breslau.—The first subscription concert of the Breslau Orchestral Union, went off with great 6clat. About 1100 tickets were sold, and the audience were loud in their applause. The orchestra, consisting of seventy musicians, was under the direction of Dr. Damrosch. The principal orchestral works, comprised in the programme, were the overture to Die Zauberflote, Gadc's Michael Angelo overture, and Beethoven's symphony in C minor, Herr Jean Becker played Mendelssohn's violin concerto, and Paganini's variations.

Erfurt.—The last concert of Soller's Musical Union was given in celebration of the 150th anniversary of Frederick the Great's birthday. A bust of the warlike monarch was set up, entwined with flowers, in the most conspicuous part of the concert-room. The concert began with the grand "Parademarsch" composed by Frederick himself, followed by Meyerbeer's overture to Das Feldlager in Schlesien, and a number of less important pieces, vocal and instrumental.

Prague.—Mozart's Idomeneo will shortly be performed here for the first time.

Leipsic.—We learn from a correspondent that Miss Madeline Schiller, a young English pianist, made a highly favourable dtbul at the Gewandhats Concerts on the 23rd of January. The circumstances under which she appeared were peculiar. The pianist who came from Frankfort to play did not satisfy himself or the directors at rehearsal, and voluntarily resigned his engagement. Upon this Miss Madeline Schiller, who was known to one or two of the directors, was sent for, and most bravely undertook to play Mendelssohn's G minor Concerto at a day's notice. As it was the young lady's first appearance in presence of a large audience, her situation may be imagined. She was extremely nervous, but after the first movement, encouraged by frequent and loud applause, seemed to have recovered full possession of her powers. That she created an unusual sensation may be gathered from the fact, that the directors presented her with a very handsome brooch, gold neck-chain and pendants. The newspapers all anticipate for Miss Schiller a firstrate artistic career.

Hanover There were eighty operatic performances at the Theatre

Royal during tho last year. Two of the operas performed — Das Glbchchen des Eremiten and M. Gounod's Faust — were novelties. There were twelve revivals. In stock operas, the various composers were represented as follows :— Aubcr, one performance ; Bellini, 1; Boieldieu, 2; Donizetti, 3; Fioranti, 1; Flotow, 3; Gliiscr, 1; Gounod, 2; Halevy, lj Kreutzer, 1; Lortzing, 4; Maillart, 3; Marsehncr, 4; Mehul, 2; Meyerbeer, 9; Mozart, 3; Nicolai, lj Offenbach, 1; Rossini, 3; Spohr, 1; Verdi, 3; Wagner, 4; and Weber, 1.

Gotha.— The Duke of Saxe Meiningen has bestowed the medal and decoration affiliated to the Ernetcnian House Order, on Herr Alfred Jaell, the pianist. Herr Jaell has been making a professional tour, through Hanover, Cassel, Mayence and Meiningen, and will shortly visit Hamburg, Leipsic and Bremen.

Three Hundred and Twenty-fourth Edition of

TTAMILTON'S MODERN INSTRUCTIONS for the

J_-l_ PIANOFORTE, enlarged and fingered by Czerny, with the addition of new and original Preludei and Arrangements by W. Vincent Wallace, Brinley Richards, and A. Leduc. Large folio plates, 70 pages, M. Contents :—Rudiments of Musical Notation, sections 1 to it>; Exercise and Scales, Nos. 1 to 110— Lessons with Preludes in various keys, Nos. 1 tu 72— 12 Single and Double Chants; 4 Vocal Pieces, with Piano Accompaniment. A complete Library for the learner of the Pianoforte. Also the 20th edition of Hamilton's Modern Instructions for Singing, Si,l und 66th edition of his Dictionary of Moo Musical Terms, Is.; also 70th edition of Clarke** Catechism of the Rudiments of Music, Is,

WVINCENT WALLACE..-- For piano, SOUVENIR • des INDES ORIENTALES, Melodic (from the Burlington Album), 3s. La Graziel'a Nocturne, 3s. The Shepherd's Rondetav, a Pastoral Sketch, 4s. Blue Bells of Scotland, 3s.; duet, G. Ye Banks and Braes, 3s.; duet, 4fl. Twilight Romance, 2s. Fading Away, 3s. Annie Laurie, 2s. 6d*. Rosebud Polka, 2s. 6d. Home, Sweet Home, 3'. Robin Adair, 4s. Croyez.raoi, 2s. Gd. Catalogue of his recent works gratis and post free.

WHAT ARE THE WILD WAVES SAYING?
Piano Duet, arranged by BRINLEY RICHARDS, 4s. What are the wild
Waves Saying? Vocal Duet, by Stephen Glover, 3s. What are the Wild Waves
Saying ? arranged for Piano by Brinley Richards. The Echoes of Killarney, by Brin-
Jey" Richards. Reminiscence for Piano, introducing The Meeting of the Waters, IN. 6d.
The Echo of Lucerne, by Brinley Richards, transcribed for Piano, 3*. Warblings at
Eve, by Brinley Richards, Romance for Piano — Solo 2s. fid.; Duet 3s. Cherry Ripe,
for the Piano, by Brinley Richards, 3s. Hurrah for the Bonnets of Blue, for Piano,
arranged by Brinley Richards, 3b.

HAMILTON'S PIANO TUTOR. 324th Edition. 4s.
HAMILTON'S TUTOR for SINGING. 6s.
CLARKE'S CATKCH1SM of MUSIC. 70lh Edition, E.
HAMILTON'S DICTIONARY of MUSIC. 06th Edition, H.
ROBERT cocks and CO.'S CATALOGUES, Pott-free.
London: Robert Cocks & Co., New Burlington Street; and of all -Music.-cllcr*.

NE W EDITION.

THE VOICE AND SINGING

(THE FORMATION AND CULTIVATION OF THE VOICE FOR SINGING), By ADOLFO FERRARI.

WHEN this Book first appeared we foretold its success; our conviction being founded on the author's freedom from conventional trammels, the strong good sense of his opinions, the novelty and yet evident soundness of his precepts, and the conciseness and practical value of his examples and exercises, of which every note is dictated by a clear and definite purpose. The influence of Signor Ferrari's method of forming and cultivatlngthe voice, as it is explained in this treatise, is enhanced by the efficacy of his personal lessons in his practice as one of the most eminent teachers of the day; and this work has consequently come into general use as a manual of vocal instruction, not only in the metropolis but throughout the kingdom. In this new edition the author has made various important additions to the work, especially to the Exercises. Formerly they were confined to soprano or tenor voices; exercises for one voice being also available for the other. But, for the contralto, or the barytone, provision was not made. This desideratum is now supplied, partly by means of entirely new exercises, partly by giving the old exercises likewise in transposed keys, and'partly by adapting the soprano exercises also to the contralto or baritone, by the insertion of alternative passages in email notes. By these means the utility of the work is very greatly increased. We have said that the remarkable qualities of this book are the author's freedom from conventional trammels, the strong sense of his opinions, and the novelty yet evident soundness of his precepts ; and this we will show by quoting, unconnectedly, a few passages which cannot fail to strike every reader.— Daily News, A

London i Published, price 12s., by
DUNCAN DAVIDSON & CO., 244 Regent Street, W.

AIRS AND BALLADS IN THE OPERETTA

"ONCE TOO OFTEN N."

'COMPOSED BY HOWARD GLOVER.

"THE LOVE YOU'VE SLIGHTED." Ballad, Sung by

Mile. Jenkt Bauk 2s. 6d.

"LOVE IS A GENTLE THING." Ballad. Sung by

Miss Emma Heywood 2s. Cd.

"A YOUNG AND ARTLESS MAIDEN." Romance.

Sung by Herr Reichardt 2s. 6d.

"THERE'S TRUTH IN WOMAN STILL." Romance.

Sung by Herr Reiciiardt 2s. M.

- THE MONKS WERE JOLLY BOYS." Ballad. Sung

by Herr Formes 3s. Od.

"IN MY CHATEAU OF POMPERNIK. Aria Buffs

Sung by Herr Formes 3s. Od.

"Mr. Glover's operetta is a decided, and, what U better, a legitimate, 'hit." The song, before us hare already attained a well.merltcd popularity. 'The monks were jolly boys' is ai racy at the best of the old English ditties, harmonised with equal quamtneii and ikill, and thoroughly well suited to the voice of Herr Formes. 'The love you've slighted still is true' (for Mile. Jenny Baur) has a melody of charming freshness. Not less a model ballad In its way is 'A young and artless maiden ' (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are, is 'Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils. We shall look with real interest for the remaining pieces of " Once too Often."—Musical World.

I NAVIGANTI (The Mariners),

BY ALBERTO RANDEGGEH.

This popular Trio (for soprano, tenor and bass) sung by Miss Anna Whitty. Mr. Tennant and Herr Formes, on their tour through the proTraces, and by Madame Rudersdorff, Mr. Dunn, and Mr. Weiss at the Cork Festival, is published, price 4*. by Duma n Davison & Co.

"In the composition of this unaffected and graceful trio (which is inscribed to those excellent professors of the vocal art, Sig. and Mad. Ferrari), Mr. Riindcgger has shown not only the melodic gift, and the knowledge of how to write effectively for voices, bu t a thorough proficiency In the art of combination, and, as it were, a dramatic spirit, which might win favour for an opera from his pen. Each voice (tenor, basso and soprano), in the order in which they enter, has an effective solo, followed by an ensemble (or * tutti') for the three voices in the major key (the trio begins in C minor), the whole terminating with a coda, * sotto voce.' the effect of which, if smoothly rendered by three good singers, must be as charming as it is new. The more of men 'lerzettinos' the better."— Musical World.

Loudon: DUNCAN DAVIDSON & CO., 244 Regent Street, W.

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FAVARGER, R. Ditto

Pas Redouble. Price 3s.

Morro ma Prima In Grazia, from Un Ballo.
Price 3s. 6d.

Cramer, Beale & Woon, 201 Regent Street, W.

ALLCOTT, W. H. Simon Boccanegra. Favourite

Airs, in two Books. Solos, 5s.: Duets 6s.
Cramer, Bkalr & Woon, 201 Regent Street, W.

DANCE MUSIC.

BUCALOSSI, PROCIDA. Sweet Violets' Waltzes
(illustrated). Price 4s.
Ditto Flowers of the Valley Waltzes, Illustrated. Price 4s.
Ditto Merrie England Waltzes do. Price 4s.

Ditto Water Lily Walties. do. Price 4s.

Ditto Crown of Roses'Polka, do. Price N.

Ditto Regatta Galop, do. Price 3s.

Ditto Gipsy Polka Mazurka, do. Price 3s.

Ditto Midnight Galop, do. Price 3s.

Cuambr, Ueale * Wood, 201 Regent Street, W.

COOTE, CHARLES. Carolina Polka (illustrated). Price 3s.

Ditto Simon Boccanegra Quadrilles. Illustrated. Price 4s. Ditto Un Ballo In Maschera Quadrilles, do. Price 4s. Cramer, Beale A- Wood, 201, Regent Street, W.

STANLEY, G. Summer Rambles Waltzes. Price 4s. Ditto. Prairie Flower Waltzes (illustrated). Price 4s.

Cramer Beale & Woon, 201 Regent Street, W.

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