« ElőzőTovább »
and a portion of the funeral anthem, “When the ear heard him," | composed by Handel for Caroline, Queen of George II. The overture to the Messiah was omitted, to the disappointment of those who had not read the advertisements in the papers. A printed apology with certifi. cate of Mad. Sainton-Dolby's indisposition was circulated in the room, | THE subjoined is an abridgement of the report which appeared and to Miss Leffler, who took the place of our most accomplished native
| in the Manchester Guardian, of Mr. Hallé's last concert in the contralto at a very short notice, much praise is due for her careful read
Free-Trade Hall:ing of the part, more especially of “He was despised,” in which the time was not dragged, as is too often done with a mistaken view to
" Prior to the commencement of the concert, and as a tribute of redeepening the pathos of this most pathetic of airs. The soprano music spect to the memory of the late Prince Consort, the Dead March' in was entrusted to Miss Eleonora Wilkinson, whose voice at present has
| Saul was performed by the band, followed by the National Anthem, by scarcely sufficient power or cultivation for so arduous a task. Of Mr. Mr. Leslie's celebrated choir, which constituted the vocal element of the Wilbye Cooper and Mr. Lewis Thomas, it is sufficient to say that they concert, commencing with an additional stanza by Mr. W. H. Bellamy.. sang as they invariably do, like true artists, producing the customary
The performances of Mr. Leslie's choral body more than confirmed the effect in the best known airs; Mr. T. Harper's trumpet, as usual, sharing opinion we have already expressed of them, the acoustical properties of the applause bestowed upon the final bass solo. The chorus, as we the Free-Trade Hall adding greatly to their power, and rendering more have previously had occasion to observe, contains many fine and fresh apparent those gradations of light and shade which are the life and soul voices, but is yet far more numerous than efficient. Young ladies and / of part-singing. These qualities were manifested in a marked degree in gentlemen should be reminded that, although amateurs, they are placed all the pieces, and it is difficult to select any for special eulogium. in the orchestra for other purpose than that of eyeing the audience
Morley's madrigal, • My bonny lass she smileth,' and Pearsall's partthrough double-barrelled lorgnettes, and that attention to what is going
song, who will o'er the downs so free,' were the two that took most, on is expected of them by the public. We should then be spared such
both being encored, though others — Mendelssohn's setting of the 43rd mistakes as occurred at the commencement of “ The Lord gave the
Psalm, Reay's part-song, The dawn of day,' a serenade of Pinsuti's word," to say nothing of a frequent want of precision, rendering many
and a glee of Calcott's for example, — well deserved a similar compliparts far from satisfactory. That they can do better was evinced by
ment. Beethoven's grand concerto in E flat, for piano and orchestra, “All we like sheep,” and “Hallelujah,” the most satisfactory achieve. was play ed by Mr. Hallé entirely from memory, and with almost unapments of the evening.
proachable excellence. The band accompaniments, too, were admirably
rendered. The andante from Spohr's symphony Die Weihe der Töne, ST. JAMES's Hall.–At the first concert of the sisters Marchisio,
was given to perfection by the orchestra, the flutes, clarinets and bason Thursday evening (see another page) the instrumental “lion"
soons being especially remarkable. The exquisite grace and beauty was J. Vieuxtemps, whose superb execution of his own Fantaisie that Mr. Hallé imparts to the lighter compositions of Chopin, Schubert Caprice-one of the most original and attractive pieces of which and Mendelssohn (a selection of one from each master constituting his the modern repertory of the violin can boast - created what may second solo performance) all who have been accustomed to hear him be termed, without over-colouring, a “sensation.” In addition to know full well, and those who have not been so accustomed cannot be the great Belgian virtuoso there was M. Lamoury, a violoncellist | informed by any language we can command." of more than ordinary ability, who performed a solo by Servais so From Manchester we also learn that the annual performance of cleverly, and with so much taste, that the absolute emptiness of the the Messiah on Christmas Day attracted an enormous audience composition he had selected was forgotten. The young pianist, to the Free-Trade Hall. The intelligent critic of the Manchester too, M. Arthur Napoléon - who, as a boy, some years since, affor-Examiner and Times gives an interesting report, from which we ded so much gratifination by his performances, and who returns to
extract the following: us, after a lengthened sojourn in the United States, a young man, still full of “promise”—besides joining M. Vieuxtemps in a brilliant
"Such is the attractive character of the greatest of Handel's great
works, that, althouglı announced for performance on two consecutive duet, played a couple of solos, one by Liszt, a sort of olla podrida
days, the Free-Trade Hall was densely packed in every part; indeed, on airs and fragments of airs from Norma, the other a « Grand
it was, perhaps, the largest audience ever gathered on a similar Galop de Concert," by himself. Both were given with remarkable
occasion, though Christmas Day has, for the last twenty years, been noted spirit; and after the last, which seemed most to the taste of the au
for bringing together vast crowds to listen to the Messiah. The prindience, M. Napoléon was recalled. Among the other singers was cipals' were Mad. Rudersdorff, Miss Fanny Huddart, Mr. Swift, and Miss Ellen - we beg pardon, “Mademoiselle Elena"-Conran, who, Herr Formes. The last not having sung in oratorio here for some as Donna Elvira, in a trio from Don Giovanni, and in the trying / years, we were glad to find him in such good voice, and fully equal to catatina of Norma ("Casta Diva") showed herself mistress o fa voice the task of giving truthful expression to the bass music of this wonderof such genuine beauty, and of a talent so incontestable, that she ful oratorio. His singing of .But who may abide' was as pure in voice ne
T ibova hoon afraid to own that their happy possessor was a 1 and as earnest in feeling as the best musician would desire. The trumveritable “ daughter of Erin.” Mr. Swift - a son of Erin, and a pet shall sound,' with Mr. Elwood's accompaniment, deserves equal comworthy one so far as minstrelsy is concerned — afforded an excel
mendation. Miss Huddard won a hearty encore in “He shall feed His
flock' - a compliment to which she is no stranger in Free-Trade Hall. lent specimen of his capabilities in “Love sounds the alarm," from Acis and Galatea, which he delivered with a force and energy
Many of our musical readers will remember Mr. Swift in the farewell
operas of Mad. Grisi; few visitors to Manchester have found more favour. that proved how thoroughly he had entered into the spirit of the
This was the first time this gentleman had attempted the music of song-one of Handel's most racy and vigorous. Signor Ciampi,
Sho p : Handel; and we may congratulate him upon his manner of accomthe well-known bass, whose successful début at Her Majesty's
er Majesty s plishing a task of such difficulty — that of singing music new to him Theatre, in the character of Don Bartolo, won him subsequent ac
self, but familiar to the great proportion of those who heard him. For cess to the Royal Italian Opera; Mlle. Dario, a lady with a strong .Comfort ye my people,' he received warm applause, and into • Thy re“soprano" voice that wants nothing so much as cultivation; Mr. buke' and `Behold, and see,' he threw the same truthful character of Walter Bolton," primo tenore of the Teatro Reale, Lisbon, and the expression. It was in the great air of. Thou shalt break them,' howprincipal Italian theatres ;" and Signor Eugenio Coselli, a “bass ever, that Mr. Swift realised fully all that we had expected from him, barytone," each contributed a solo, as well as joining in the cele and in this there was a true appreciation, as well as a skilful delivery, brated sestet from Don Giovanni (“Sola, sola"), which was not the that could find liberal favour when compared with the best that have best performance of the evening. An orchestra, conducted by gone before him. The band and chorus mustered about 200. For Signor Vianesi, besides accompanying the vocal music, began the
unto us,' as usual, met with an encore, and · All we like sheep' escaped concert with an overture, called “Stabat Mater”—a composition
barely a similar honour. The 'Hallelujah' was also very fine, and the bearing the name of Mercadante, but apparently owing some few
great mass of people, rising, was an impressive sight. We must not let of its materials to Rossini. Altogether the concert, in spite of its
Mr. Banks pass without a line of compliment, for he has long shown how
thoroughly he is master of his position in the English school of music, extreme length and the “miscellaneous" character of the pro
among which tradition and our respect for the great composer has gramme, gave evident satisfaction.
placed the noble works of Handel.”
A correspondent from Windsor reports an interesting performance of pianoforte music, at the Town Hall, by Mr, W. G. Cusins. The programme was as subjoined:-,
“PART I. - Prelude and Fugue in C minor (No. 2 of the 48), S. December. It was played in splendid style, the execution of the Bach; "the Harmonious Blacksmith,' variations by Handel; Grand So- first allegro, the scherzo and the finale being especially good. — nata in E flat (Op. 31, No. 3), Beethoven; Romance, Geneviève,' W. S. From the Niederrheinische Musik-Zeitung. Bennett; Song without words (No. 6, Book 5), followed by Andante and Rondo Capriccioso, Mendelssohn.
“ PART II. -Two waltzes in D flat and C sharp minor, followed by THE UNITED STATES NATIONAL HYMN. -"Some months have grand polonaise in A t'at, Chopin; Wanderstunden (No. 2), Stephen elapsed since the day appointed for the opening of the manuscripts sent Heller; Fantaisie-étude, Purles d'écume,'Kullak; Grand fantasia (Mosè in to the Committee upon a National Hymn, and impatience is maniin Egitto), Thalberg.”
festing itself, in many quarters, for the announcement of the expected Mr. Cusins entitled his first part “ Classical,” and his second
award. Aside from any interest which the public at large may take in part “ Modern”- why, considering that Chopin is dead, and Ben
the subject, the great number of the competitors-only a few short of nett (happily) living, it would be difficult to say. Nevertheless,
twelve hundred-makes it inevitable that there are thousands of eager
expectants sitting upon the anxious seat in this regard. For it can the performance could not fail to interest, and we are not sur
hardly be that each competitor has less than a dozen friends who are prised to hear that Heller's “ Wanderstunden," was encored, and
na solicitous for his success. We have hitherto thought it worth our while that at the end of the concert, the audience requested him to re
to inform ourselves as far as possible upon the subject, and we learr: pear the spirited Fugue of Bach with which it had commenced.
that the Committee are upon the verge of the conclusion of their
labours. They have not yet, however, decided upon making an award; THE FOURTH GESELLSCHAFTS-CONCERT AT
and we remind our readers, that in their advertised conditions of COLOGNE,
competition, they expressly stipulated that they were not to give the
prize to the best hymn sent in; but that they should reject all, whatever The programme of the above concert, which was under the
their intrinsic merits, if they found none exactly suited to the purpose. personal direction of Herr Ferdinand Hiller, comprised the follow
Their mode of proceeding, we understand, has been this:-The manu. ing pieces : - First Part : 1. Concert-Overture, by F. Hiller (new
scripts containing words alone were first opened, the music being laid --manuscript); 2. Aria from Handel's Sampson, sung by Mad. aside for separate consideration. The verses were then read by the Otlermans van Hove, from the Hague ; 3. "Weihnachtslied,” for member who opened the envelope containing them. If they were consix voices, by Sethus Calvisius (1587); 4. Violin-Concerto, demned at once by a nearly unanimous voice, they were cast into a No. 7, by L. Spohr, played by August Kömpel ; 5. First finale waste-basket ready at hand ; if not, they were reserved for future confrom Weber's Euryanthe. -- Second Part: Beethoven's Ninth sideration. But, by a waste-basket, must not be understood any of Symphony.
those wicker concavities, known to ordinary mortals by that name. A Hiller's new overture consists of a single fiery allegro, without | vast washing-basket -- a “buck-basket," big enough to hold Falstaff any introduction, or other change of tempo. her change of tempo. It is the effusion of It is the effusion of a
himself—was made the temporary tomb of these extinguished hopes; lively fancy, which is restrained, by the sure musical knowledge of
and this receptacle was filled, it is said, five times with rejected mann. the composer, within the limits of a beautiful form, and moves,
scripts, which were seized upon for incendiary purposes by the cooks of with great dash and spirit, in the domain of musical ideas. It was
the gentlemen at whose houses the meetings of the Committee took most favourably received by all competent judges and impartial
place. Alas for the bapless writers! Were even the priceless manu.
script plays of the Shakspearian age that Warburton's cook purloined listeners; and is, without a doubt, one of the finest orchestral
and used to put under pies so lamented as those remorsely incremated works Hiller's muse has produced.
hymns will be? The mass of these manuscripts, we are informed, were For many years, Mad. Offermans van Hove has enjoyed in either the merast commonplace, au obsolutely nefutier rhyme nor reason. Holland a wide-spread and well mcritod reputation as an artis. From the whole collection only about thirty were reserved as worthy of tically accomplished singer. This reputation she has justified a second reading, and these, on a second and third examination, were here, also, where she appeared for the first time. In Handel's reduced about one half. Several were also preserved on account of little triller air from Sampson, “ Mit Klagelaut und Liebesgirren" | their absurdity or grotesqueness. They were so bad as to be good. (with violin obbligato), more especially, she proved herself a most « The hymns sent in with music were about three hundred in number. accomplished vocalist, educated in an excellent school. Her voice, To enable them fairly to judge of the merits of these, the Committee which is of considerable compass, and very pleasing in the upper
| called in competent musical aid, and after a winnowing of the heap over notes, is distinguished for the freshness of its quality, ringing
the pianoforte, the residuum, found worthy of a more particular hearing,
were sung. This second examination left less than twenty compositions through everything else in the Ninth Symphony. Indeed, her
in the hands of the Committee. We hear that among the rejected musisinging of the entire soprano solo part in this work, convinced every
cal manuscripts were very many that were evidently sent in by persons one she was a thorough musician.
who were ignorant of the very first principles of harmony, and who to The “ Weihnachtslied " of the celebrated and learned old musi
| their ignorance added utter lack of native musical capacity. It has been cian, astrologer and chronologist, Sethus Kalwitz (1556–1615) of
stated that the Committee called in two eminent musicians to pass Thuringia, was given a capella by the chorus very purely and
judgment, as experts, upon the compositions sent in to them. But we gracefully.
are informed that this report is not correct, and that judgment upon the August Kömpel, who has been accustomed to such brilliant
merits of contributions has, in all cases, remained entirely with the ovations at his concerts in Holland, carried away here, also, the Committee, among whom are gentlemen of well-known musical taste audience, though the latter were not very much inclined to ap and cultivation. But even with their stock thus reduced the Committee plaud on this particular evening. His execution of Spohr's seventh hesitated about their decision ; and, finally, determined to call the pub. Violin-Concerto was admirable, and elicited signs of the most lic to their aid. It is to the public heart and to the general ear that the hearty approbation, besides procuring for him the honour of being
| words and music of the hoped-for hymn are to be addressed; and, called on.
therefore, it appears to us that this determination is a wise one. It is to The pleasing finale from Euryanthe did not produce the effect be carried into effect by the performance of the songs, now in the which it never fails to produce on the stage. The reason of this is
hands of the Committee, at concerts in New York and Brooklyn, in
which soloists, a chorus, and an orchestra, will test in the most satisfac. to be sought in the character of the composition itself, and not in
tory manner the fitness of these hymns for national purposes. the manner in which it was executed. The solos were entrusted
names of the authors and composers will be withheld; and, indeed, they to Mad. Offermans, who, however, did not sing the part of Eu- |
are yet entirely unknown to the members of the Committee themselves. ryanthe with the same excellence that she sang Handel's air; to
It is not, we believe, intended that the question shall be decided by the Mlle. Adele Assmann, of Bremen, a pupil of the Conservatory here;
amount of applauso elicited by this or that hymn; but that the manner to a very good musical amateur (tenor), from Crefeld, and to in which the performance affects the public shall enter largely into the Herr Karl Bergstein, of Aix-la-Chapelle, who rendered the part | considerations by which the final judgment of the Committee is effected of Lusiartus, as well as, subsequently, the difficult bass part in the The plan is at least an ingenious one, and the concerts, which are to be finale of the Ninth Symphony, with a degree of expression, which given at a low price of admission, though in the most creditable style, stamped him as a thorough master of his art.
will doubtless excite a very general interest."-N. Y. Daily Times. The insertion of the Ninth Symphony in the programme was a mark of respect to the birthday of Beethoven, namely, the 17th
LONDON GENERAL COAL COMPANY (LIMITED).
110 EUSTON ROAD, LONDON.
Amateurs and the Trade Supplied at the Lowest Terms,
Regulate and Repair ; also has a knowledge of the Sheet Music Trade.
Address W. H. REMBRIDGE, I Chapel Street, Edgeware Road, N.W.
ASH DOWN & PARRY'S
THE VOICE AND SINGING
(THE FORMATION AND CULTIVATION OF THE VOICE FOR SINGING), · Pianoforte.
By ADOLFO FERRARI SYDNEY SMITH.-La Harpe Eolienne. Played by the
Composer daily at his Pianoforte Recitals at the Crystal Palace with extra. ordinary success. Price 4s. Ashdown & PARRY, 18 Hanover Square.
VHEN this book first appeared we foretold its success; WOLLMICK.-Elfin Revels. The last new piece by this
our conviction being founded on the author's freedom from U graceful writer, a most charming composition. Price 3s.
conventional trammels, the strong good sense of his opinions, the ASHDOWN & PARRY, 18 Hanover Square.
novelty and yet evident soundness of his precepts, and the conciseness RRINLEY RICHARDS.— Yankee Doodle. Price 4s.
and practical value of his examples and exercises, of which every note Ashdown & PARRY, 18 Hanover Square.
is dictated by a clear and definite purpose. The influence of Signor
Ferrari's method of forming and cultivating the voice, as it is explained W. GOODBAN. Rosalie, the Prairie Flower. in this treatise, is enhanced by the efficacy of his personal lessons in Price 3s. Ashdown & Parry, 18 Hanover Square.
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 inTULES BRISSAC.- T’amo, si t'amo. The Mazurka from struction, not only in the metropolis but throughout the kingdom. Verdi's Un Ballo in Maschera. Price 3s,
In this new edition the author has made various important additions Ashdown & PARRY, 18 Hanover Square.
to the work, especially to the Exercises. Formerly they were confined TULES BRISSAC.-Dixey's Land. Price 3s.
to soprano or tenor voices; exercises for the one voice being also avail
able for the other. But, for the contralto, or the barytone, provision ASHDOWN & PARRY, 18 Hanover Square.
was not made. This desideratum is now supplied, partly by means of RICARDO LINTER. – Tally Ho! Fantasia (à la chasse). entirely new exercises, partly by giving the old exercises likewise in Price 3s,
transposed keys, and partly by adapting the soprano exercises also to Ashdown & Parry, 18 Hanover Square.
the contralto or barytone, by the insertion of alternative passages in I RUMMEL.—Espoir du Retour. Nocturne. Price 3s. small notes. By these means the utility of the work is very greatly inAshdown & Parry, 18 Hanover Square.
We have said that the remarkable qualities of this book are the auRUMMEL.–Solitude. Nocturne. Price 3s.
thor's freedom from conventional trammels, the strong sense of his Ashdown & PARRY, 18 Hanover Square.
opinions, and the novelty yet evident soundness of his precepts ; and TADOUARD DE PARIS.-Mezzanotte. Fantasia on the
this we will show by quoting, unconnectedly, a few passages which
cannot fail to strike every reader. favourite quartett from Flotow's opera Martha. Price 4s. Ashdown & Parry, 18 Hanover Square.
“Voices are too often ruined by giving pupils difficult songs, in
order to gratify their vanity or that of their friends, before they have HENRI ROUBIER.-Esilda. Fantaisie-Polka de Salon. acquired the power of sustaining the voice, throughont its natural ex.
tent, with a firm and clear intonation. When it is recollected that it Ashdown & Parry, 18 Hanover Square.
has taken years of application and study to enable professional singers HENRI ROURIER. — Fleur printannière.-- Fantaisio
to execute properly the songs we are accustomed to hoar attempted by Mazurka de Salon. Price 3s,
almost every young lady who is requested to sing in a drawing-room, Ashdown & Parry, 18 Hanover Square.
the absurdity of the prevailing system becomes self-evident.
"I strenuously advise all who wish to sing not to defer the comHENRI ROUBIER. — Vaillance. Morceau Militaire.
mencement of this study, as is generally the case, till the pupil arrives Price 3s. ASHDOWN & PARRY, 18 Hanover Square.
at the age of 17 or 18, by which time young ladies ought to be good
singers, but to commence early, at about 13 or 14 years of age, and reREORGE FORBES.-Edith. Romance. Price 2s. 6d. sisting the gratification of singing a number of songs for the amuseASHDOWN & PARRY, 18 Hanover Square.
ment of their friends (the word may be taken in more senses than one),
to devote sufficient time to what may be termed the drudgery of singing, CHARLES MAYER.-Triolino Etude. Price 4s.
so as to enable them to acquire the power of sustaining the voice, easily ASHDOWN & Parry, 18 Hanover Square.
to themselves and agreeably to the air.
“Many young ladies now-a-days speak habitually in a feigned voice. Organ.
Here lies the greatest difficulty in teaching, or practising singing; for EFEBURE-WELY. Three Andantes. Edited by
should neither the pupil nor master know the real tone of the voice, the William Rea Price 3s.
more earnestly they work together the sooner the voice deteriorates. Ashdown & PARRY, 18 Hanover Square.
In my experience I have found this difficulty most easily overcome by I EFEBURE-WELY. Cantabile, Largo, Andante. Edited
making the pupil read any sentence in a deep tone, as though in earnest U by William Rea. Price 3s.
conversation, beginning two or three notes below what they consider Asudown & Parry, 18 Hanover Square.
their lowest notes ; but, as the lower and richer tones of the voice are
generally objectionable to young singers, all of whom are ambitious to LEFEBURE-WELY.-Offertoire in G minor. Edited
sing high, it requires much firmness and some coaxing on the part of y William Rea Price 38. Asudown & Parry, 18 Hanover Square.
the master to get the pupil to submit to this exercise. I cannot advise
too strongly the greatest attention to the free and natural development | EFEBURE-WELY. - Fugue in D minor. Edited by
of the lower tones of the voice : it is to the stability of the voice what William Rea. Price 23. 6d.
a deep foundation is to the building of a house. Ashdown & Parry, 18 Hanover Square.
“In conclusion, I must add a few words on a subject of great im
portance to the pupil who makes singing a study. I mean the spirit in Í EFEBURE-WELY. - Funeral March. Edited by
which instruction is received. Every emotion of the mind affects the by William Rea Price 39. Ashdown & Parry, 18 Hanover Square.
voice immediately; therefore it is of the utmost importance that the
pupil should receive the lesson with the mind entirely unpreoccupied by LONDON:
other matters, and in a perfect spirit of willing submission to the teacher's corrections, however frequent, and however unimportant they may appear ; for it is simply by the constant correction of little nothinys
that beauty of intonation and elegance of singing are obtained.”- Daily (Successors to Wessel and Co.),
London : Published, price 12s., by 18 HANOVER SQUARE.
DUNCAN DAVISON and CO., 244 Regent Street, W.
ASHDOWN AND PARRY
BOOSEY AND SONS'
DOPULAR ILLUSTRATED QUADRILLES, by LAU
Rent and BURCKHARDT, “ Christmas Waits' Quadrille,” 38.; Serpentine Quadrille,” 3s. : “New Year's 'Quadrille," with Almanack of 1862, 3s. ; “Ramsgate Sands' Quadrille," 4s. All illustrated in colours.
DEEP-O'-DAY WALTZ, by LAURENT (on Irish Airs),
very beautifully illustrated in colours by CONCANNEN and LEE ; with a View
from the new Sensation Drama at the Lyceum, price 4s. Also 6th edition of the DOOSEY'S CHRISTMAS ANNUAL of DANCE
Colleen Bawn Waltz, by MARRIOTT. 4s. D MUSIC for 1862. Price Is.; or splendidly bound, gilt edges, 28. 6d.
THE OCTOROON WALTZ, by WAGNER (Author of ROOSEY’S SIX CHRISTMAS or AFTER-DINNER the " Adeline Patti Waltz"). Ilustrated in Colours by J. BRANDARD. From D SONGS. Price 6et.
the new Adelphi Drama. 4s.
"One of the most beautiful waltzes ever written. ROOSEY'S SIX CHRISTMAS CAROLS, for four D Voices and Pianoforte. Price 6d.
NAREWELL NOCTURNE. By J. B. RICHE. The
popularity of this little piece equals “ The Maiden's Prayer.” Price 25. OOSEY’S 250 CHANTS, Single and Double. Price
THE ROSE LOOKING IN AT THE WINDOW. 18.; cloth, gilt edges, 2s.
Song. The Music by a Lady. Price 2s. Second edition. OOSEY'S 50 PSALM and HYMN TUNES, for four
THE RIVAL OTHELLOS, New Comic Song, by H. J. voices, with the Rev. W. J. Hall's words. Price Sixpence.
1 Byron, Esq., set to popular melodies by Frank Musgrave. Price 3s. Illustrated DOSEY'S 25 COMIC SONGS, for Christmas Parties, in Colours. with pianoforte accompaniment. Price One Shilling.
GREAT EXPECTATIONS, New Ballad founded on DOOSEY and SONS' NEW 'JUVENILE SERIES,
Dicken's popular novel. Price 2s.6d. Price One Shilling each, in fancy covers, or Two Shillings each in extra cloth gilt letters and edges ; forming most beautiful and suitable presents for the approaching season. 9. THE GOLDEN WREATH, containing 28 Songs, with original Words, adapted
LONDON : to popular melodies. 2. THE JUVENILE PIANOFORTE ALBUM, containing 24 Pieces and Dances
BOOSEY & SONS, HOLLES STREET. by modern composers. 3. THE CLASSICAL PIANOFORTE ALBUM, containing 30 Classical Compo.
TVANS'S ENGLISH HARMONIUMS for Cottages, sitions by the great Masters.
Schools, Drawing Rooms, Churches, Literary and other public Institutions, are OOSEY and SONS' "200" SERIES. All in cloth made in every possible variety at prices from 6 to 140 guineas. The Manufacturers
have to announce the complete success of a New Patent Self-Acting Blowing Machine, covers, price Is. 6d. each.
the only self-acting blower that has ever succeeded, which may be seen in operation at Booseys' 200 Christy's Melodies for the Violin.
Holies Street daily. Booseys' 200 English, Irish, and Scotch Melodies for the Violin.
The most distinguished living musicians, including Balfe, Sterndale Bennett, Cipri. Booseys' 200 Dances for the Violio. Booseys' 200 Operatic Airs for the Violin.
ani Potter, Best, Henry Sinart, &c., have testified to the extraordinary merits of
See testimonials attached to Illustrated Catalogues of Harmoniums, to be had gratis Booseys' 200 Dances for the English Concertina.
of the Manufacturers, Boosey and Ching, 24 Holles Street, London,
LVANS'S ENGLISH MODEL HARMONIUM, with
two rows of keys, price 66 guineas in oak case, or 70 guineas in rosewood case, DOOSEY'S FIVE-SHILLING OPERAS for VOICE
wurabin suryanstorn improvement Thomnar honutiful and varied orchestral effects and PIANOFORTE, perfect and complete, in cloth. Each Opera with Eng. can be produced upon this instrument, which possesses every gradation of tone from lish and Italian Words, excepting “Satanella," which has the former only. Now the greatest power to the most delicate piano pieces. The English Model Harmonium
is managed with that facility which characterises all Evans's Harmoniums, and is ready, " Il Trovatore."
equally effective both in the drawing room and church.
BOOSEY and CHING, Manufacturers, 24 Holles Street, London.
TVANS'S PEDAL HARMONIUMS, with independent “ Satanella.”
Pedal Reeds, can be had either with a single or double row of keys, at prices from 251 to 130 Guineas; also with the new patent self-acting blowing inachine,
BOOSEY and CHING, Manufacturers, 24 Holles Street, London, W. SERIES, 20 CHRISTY'S MINSTRELS AIRS for Violin and Pianoforte, in one book (with
NEW COMPOSITIONS FOR THE PIANOFORTE, separate Violin part), price 28. 6d. 20 ENGLISH, IRISH, and SCOTCH AIRS for Violin and Pianoforte, in one book
BY (with separate Violin part), price 25. 60. "12 OPERATIC AIRS for Violin and Pianoforte, in one book (with separate Violin
CHARLES FOWLER, part), price 2s. 6d.
OF TORQUAY. DUY BLAS. "A Sympathising Heart.” Sung by
e Louisa Pyne.“ The smoothest and most melodious ballad we have ever I TARANTELLA.-Dedicated to Prince Eucon D heard." -Illustrated Times. Encored every night.
1 Leuchtenberg. Price ... ...
ROBIN ADAIR.-Concert Piece.-Dedicated to Miss Burdett Coutts DUY BLAS. " Could Life's Dark Scene." Ballad.
ALLEGRO MODERATO, from Sonata in E Mat.-Dedicated to Mlle. Nady N Sung by Miss Louisa Pyne. “A perfect jem.”- The Times, Oct. 29. « This
DER WIRBELWIND.-Galop di Bravura song promises to surpass 'The Power of Love' in popular favour.”
... ... ... ... ...
4s. “ This composition possesses a freshness and vigour, which produces a most delight
ful sensation of cheerfulness, while i: is perfectly free from the smallest approach to Brinley Richards' arrangement of “A Sympathising
vulgarity.”—Torquay Directory. on the AIRS, 48. Brinley Richards' arrangement of “A Sympathising
DER FREYSCHUTZ.-Grand Fantasia, .. . Heart," 3s.
MAZURKA ... ... ...
... ... ... 3s.
" Mr. Fowler's Compositions for the Pianoforte, as well as his performances on that DUY BLAS GALLOP BRILLANTE. By KUHE.
instrument, have long been exceedingly popular here. His compositions are full of One of the most effective pieces by this popular Composer.
originality and feeling, brilliant and highly effective, and faultless with regard to the
rules of Harmony, Counterpoint, Rhythm, and form."-Torquay Directory.
THE MUSICAL SOCIETY OF LONDON.--Fourth
Season, 1862.--TRIAL of NEW COMPOSITIONS.-The Members of the DUY BLAS QUADRILLES and GALOP, both Illus
Society and the Musical Profession generally, are hereby informed that Trials of New trated in Colours, are now ready; also the March and Mazurka,
Chamber (Instrumental) Compositions are appointed to take place at the Marylebone
Institution, 17 Edward Street, Portinan Square, W., on Wednesday evening, February LAURENT'S BEETHOVEN WALTZ, founded on 26th, and November 12, 1862, at Eight o'clock.
Any Composer desirous of having a work tried is requested to forward the score of U Beethoven's Septuor, and Desir, forming the most exquisite waltz ever com the same, for the inspection of the Council, to the Honorary Secretary wiih as little posed. Price 4s. for Pianoforte ; Band Parts 3s. 6d. ; Septet 2s. 6d.
delay as possible,
N.B. No composition which has been already performed in public is eligible for LONDON :
Charles Salaman, Hon. Sec., 36 Baker Street, Portman Square. BOOSEY AND SONS, HOLLES STREET,
St. James's, Hall, Piccadilly.
DOOSEY and SONS' VIOLIN and PIANOFORTE