it was written be or be not taken into consideration, is one of the most extraordinary manifestations of the art—was, if possible, even greater than before, and M. Vieuxtemps was unanimously called forward at the conclusion. In Beethoven's early quartet—No. 5, of the six inscribed to Prince LobkowitS (Op. 18)—and in the delicious sonata of Mozart, both belonging to a very different order of musical creation, M. Vieuxtemps was equally happy. In short , his last appearance was precisely what the admirers of his playing might have desired—series of artistic triumphs. He has now so identified himself with the Monday Popular Concerts that his annual reappearance will be looked forward to as a matter of course. The pianoforte solo was Woelfl's Ne Plus Ultra, one of the boldest and most difficult works of what may bo reasonably described as the "pre-Beethoven period," the sonata of Woelfl having seen the light before the genius of Beethoven had fairly developed itself. The history of this sonata, the last part of which consists of ■variations in the bravura style, on the air of " Life let us cherish," foreshadowing many of the most salient characteristics of the ''fantasia," subsequently developed by Moscheles, Herz, Thnlberg, and their numerous followers—the " bone and marrow," as it were, of the " virtuoso " school—must be familiar to our readers, having been more than once related. As a piece of display the Ne Plus Ultra was unexampled in its time, and even now—more than half its century since the death of its author, who wrote it when in the zenith of his powers as an executant—if adequately rendered, elicits universal sympathy. In short, after its peculiar fashion, the sonata of Woelfl is a masterpiece; and so long as pianists (few, for reasons unnecessary to explain, they must inevitably be) are found to play it, it will continue to evoke the admiration which is its just due as a legitimate work of art. This was fairly proved on Monday night, in presence of such a crowd as its composer could hardly have dreamt of—a crowd, too, as attentive and discriminating as it was dense. At the end of the sonata, the performer, Miss Arabella Goddard, was enthusiastically summoned back to the orchestra, and had no little difficulty in resisting a very general wish for the repetition of the variations. This young and gifted lady was the first to revive the Ne Plus Ultra of Woelfl, as well as the Plus Ultra* (so called, at least, in England) ofDussek, and other contemporary works of the highest interest, the value of which, thanks to her refined and exquisite playing, has since obtained unanimous acceptance. Such an impression was created by her performance of the Ne Plus Ultra on the present occasion, that it is announced for repetition at the seventy-seventh concert on Monday.

The vocal music was unexceptionable. Miss Clari Fraser, a young singer of great talent and still greater promise, gifted with an agreeable voice and no common share of musical feeling, was heard with evident satisfaction in Mendelssohn's beautiful "Lullaby" (" Schlummre und triiume von Kommtn tlrr Zeil"), and "The oak and the ash," one of the most genuine specimens of English melody contained in Mr. W. Chappell's Popular Music of the Olden Time. Mr. Wilbye Cooper, whose merits as one of the best of English tenor singers are everywhere acknowledged, gave Mozart's pathetic canzonet, "The very angels weep" (" Selbst Engel Gottes weinen"), and Beethoven's incomparable " Adelaida" in a style that won for him not only the applause of "the many," but the critical approbation of "the few." Mr. Benedict was the accompanyist.

At the next concert, Herr Joseph Joachim (his first appearance since 1859) will play, among other things, one of the so-called "Posthumous Quartets" of Beethoven.

Sacred Harmonic Society. (Communicated).— The Twenty-ninth Annual Meeting of the Sacred Harmonic Society was held at Exeter Hall last evening, the President, John Newman, Harrison, Esq. occupying the chair. The attendance of the members of the Society was more than usually numerous. The report, which was lengthy, entering into a full detail of the Society's proceedings during the past year, also sketched the outline of operations during the coming season. From this it appeared that fourteen concerts had been given in 1961, and that the subscriptions were larger for the present year than on any preceding year but 1859. The receipts for the year amounted to 5576/. 2s. 2d., the

* Le Jtetour a Paris was the original French title.

expenditure to 5501/ 12s. lit/., leaving a balance in hand of 495/. 14«. 7 A, besides which the Society possesses funded and other property valued at 7500/. Included in the expenses were two sums of one hundred guineas each, the subscriptions from the Society to the Memorial of H.R.1I. the Prince Consort, and the Hullah Testimonial Fund; also a subscription of ten guineas for the preservation and repair of an organ in St. Bonifacius' Church at Arnstadt, at which church John Sebastian Bach was for some timcorganist. The report alluded at length to the musical preparations the Society arc at present occupied with for the opening of the 1862 International Exhibition. The orchestra on this occasion will comprise upwardsof 1800 performers, and it is intended, after engaging the principal professional instrumentalists, to allot 500 engagements among the principal provincial Festival and Choral Societies and Choirs, which, after deducting the regular band and chorus of the Sacred Harmonic Society, wi 1 leave about 400 more choralists to be selected from among the most regular attendants at the meetings of the Handel Festival Choir. The great Handel Festival to be held at the Crystal Palace in the last week in June, was specially noticed in the report. It was stated that the plans of seats would be ready for inspection next Monday, the 3rd of March. As the Festival will be held during the heyday of the International Exhibition of 1862, and in close proximity to the great Agricultural Show at Battersea Park, it was fully anticipated that the attendance would far exceed the 1859 Festival, although the latter was attended by upwards of 40,000 more than the Festival of 1857. The selection of the performers is oceupyingthc closest attention of the Committee. The increase of Music Societies, the extension of choral practice, enabling the Committee to fix a much higher standard of excellence than in 1857 and 1859, they are fully assured that in musical efficiency a great advance would be shown. It was further stated that the Directors of the Crystal Palace Company have already commenced preparations for roofing over the great orchestra, no doubt being entertained that the results of the coming Festival would as far exceed those which preceded as the latter excelled any former efforts. After alluding to the great extension of the Society's library, which has now become one of the most valuable in the country, comprising a large portion of the most rare and valuable musical works, both sacred and secular, as well as works on musical theory, history, biography, &C., it was announced that a new catalogue was in course of preparation, and would be issued in a few months. In the meanwhile works of special interest to the science of music would be thankfully accepted by the Society's librarian, whose object was to render it the most perfect library of its kind in this country. Afur the presentation of the accounts for the past year, the election of officers of the Society, cordial votes of thanks were unanimously given to Mr. Costa, the conductor of the Society, and to Mr. Harrison the President, and the other officers of the Society.

T)rurt Lane Theatre.—On Monday night Mr. Charles Kean acted in Hamlet for the first time during his present engagement, the part of Gertrude being sustained by Mrs. Kean, who originally undertook it in the later days of the Princess's management, and thus gave an interest to it part long considered ungrateful. It is now established as one of her leading characters. By performing the character of Hamlet Mr. Charles Kean is certain to awaken a sort of historical interest which cannot attach to any other part in his large repertory. With his appearance in this character in January 1838, his career as an English tragedian really commenced, for although previous to that date he had acted several of the parts that belong to the category of "juvenile tragedy," his earlier performances, successful as they were, no more belong to the record of his important achievements than the ordinary Latin verses written at school by a future poet belong to the collection of "works" which he publishes at a mature age. A prosperous tour through the then United States completely severed the juvenile aspirant from the Hamlet of 1838 in the mind of the London public, and the crowds that went to witness his dibut at Drury Lane 24 years ago regarded him as a new-comer, whoso excellence they were prepared to test by a comparison with his recently deceased father. The excitement which he at once produced, the series of throngs that ho attracted on successive nights, the hearty welcome which was given to the, not rising, but fully risen "star," are now matters of history. Many were of opinion that the enthusiasm with which Charles Kean was greeted merely represented the popularity of the late Edmund, still fresh in the memory of the public, and that the young actor would not long sustain the honours prematurely thrust upon him. But it is not too much to say that as years have rolled on the esteem in which Mr. Kean is held has steadily increased. Since that brilliant beginning he has sometimes absented himself from London, to reappear at long intervals, but he has never come back to find his place occupied by a younger aspirant, and his return has always been the signal for renewed excitement. As we have already said, it was with the performance of Hamlet that he commenced a professional life comprising so much that could not have been expected even by his warmest admirers. His success in Hamlet was the basis on which the whole superstructure of his reputation was raised, and mere curiosity would be sufficient to render his resumption of this great part powerfully attractive. But there is this further peculiarity in his Hamlet, that, apparently clinging to the character with a sort of natural affection, he has worked it out to a degree of artistic finish that renders it an unique phenomenon on the modern stage. Whether or not he has arrived at the real significance of the Danish Prince is a question that but little affects his character as an artist. Even the Germans, who write volumes about Hamlet where we bestow stray thoughts, have not yet settled the precise nature of that exceptional idiosyncrasy, and within the last three years we have had a book by one Herr Rohrbach, which might not be inappropriately entitled, "Hamlet, a Scoundrel," and another by Dr. A. Garth, which proves the Dane to have been the noblest of mankind. It is enough to say of Mr. Kean's interpretation that he presents his audience with a highly ideal personage, whose every word and gesture denotes assiduous reflection, and a thorough sympathy with the emotions pourtrayed. Such extreme elaboration may of course be called artificial, for it could no more be the result of a sudden inspiration than the minute tracery of some exquisite carving. But he has so completely mastered the difficult task he has imposed upon himself that he performs it as if under the dictation of an internal impulse, and never did he play Hamlet more finely or with more native vigour than on Monday night.

Olympic Theatre.—The peculiar talent of Mr. F. Robson in wo king upon the feelings of his audience, by a subtle combination of the comic and the pathetic, has not for some time been made so conspicuous as in a slight dramatic sketch just produced, with the title A Fairy's Father. In this little piece he represents an old u property man," attached to a London theatre, at which his daughter Susan is engaged as a principal "fairy." Paternal affection is the ruling sentiment of his mind, and while, as a scenic artist, he devotes his energies to the contrivance of a. marvellous "transformation scene," for the forthcoming Easter piece, his enthusinsm'is chiefly excited by the thought of the brilliant figure which his daughter will make when she appears as the principal object in all his resplendent tableaux. It is on Susan's birthday that the action takes place, and the father, confined to his home by an accident, is anxiously awaiting her return from the thentre, anticipating the delights of supping on a rabbit "smothered in oinions," —the delicacy that has been prepared for the grand occasion. Susan returns in unexceptionable time; but her father is somewhat surprised by the visit of a young gentleman, who has fallen in love with her, while witnessing her "faery" exploits, and has come with R proposal of marriage. Though the honourable intentions of the young suitor are not in the least doubtful, the worthy property-man, instead of jumping at an offer apparently advantageous, seriously weighs the chances of happiness likely to result from the proposed union. He warns the love-stricken youth, who is a wealthy merchant, that he must not confound the brilliant goddess who dazzles all eyes on the stage with the mere mortal who eats boiled rabbits at home, and that it is possible a discrepancy of tastes may bo discovered when the heyday of the honeymoon is past. The suitor slightly regards the warning, and the discussion might be carried on to an indefinite extent, did not the fact transpire that the property-man, formerly a merchant's clerk of (comparatively) high degree, lost his situation through the delinquency of another person, and that this person was the suitor's father, who died anxious to repair the wrong he had committed. He must be a poor logician who, out of these premises, cannot frame a syllogism proving that the young gentleman and lady ought to become husband an 1 wife. Mr. Cheltnam, the author of this "sketch," as he properly calls it, has worked out his slight theme with much taste and delicacy. The piece, however, derives its chief value from the acting of Mr. F. Robson, who exactly depicts the transitions of a man who, without the slightest violence, can drop from an ideal worship of his daughter into a hearty relish for onions. Strong feeling and sound worldly wisdom are, moreover, most happily blended, when he warns his young visitor against the effect of a transient illusion. Mr. Walter Gordon, as the earnest but thoroughly gentlemanly suitor; Miss Florence Haydon, as the affectionate daughter; and Mrs. Stephens, as a good-humoured old landlady, do their best to make the piece one of the prettiest cabinet pictures of actual life that could be presented on the stage. The Fairy's Father was preceded on the first night by the drama Time Tries All, in which Miss Amy Sedgwick made her first appearance for the season, and was heartily welcomed. The piece also contains effective parts for Mr. Neville and Mr. W. S. Emdcn.

Princess's Theatre. L'Ange de Minuit, the great "sensation drama" with which the Parisians were furnished by MM. T, Barricre and E. Plouvier, about a twelvemonth since, has been presented in an English shape to the audience of the Princess's Theatre. No attempt is made to veil its origin; Mr. John Brougham is merely named in the bills as the adapter of the piece, the title of which is literally translated. The Angel of Midnight. Though the action takes place at Munich, the idea of the plot is ultimately derived from an old Italian legend, which years ago suggested to the late Mr. R. B. Peake tho subject of an unsuccessful melodrama, entitled Death and the Doctor. A medical practitioner acquires a high reputation by the infallibility with which he predicts tho result of every case submitted to his treatment. This infallibility ho owes to a compact made with the personified Death, who, unseen by the eyes of others, is manifest to the physician, passing those whose life is yet to be prolonged, and touching those whose fatal hour has arrived. This notion is common to the two plays, but in every detail the story with which MM. Barriere and Plouvier recreated the Parisians last March differs from the tale of the poor cobbler, with which our prolific English dramatist displeased the audience at Drury Lane nearly 30 years ago. Albert Werner (Mr. G. Jordan), the hero of the new piece, is a poor but very honourable physician, who resists every offer to tamper with his integrity, but at last yields to the solicitations of the "Angel of Midnight" (Miss Marriott), who typifies Death, and who is really alarmed by the superior power of the man of science. She tells him that his mother (Miss Mary Fielding), to whom he is devotedly attached, will not be allowed to live 24 hours, unless he binds himself not to attempt the rescue of any patient visibly touched by her hand. The old woman is the hostage for the due performance of this compact, and her days are at once to be cut short if the doctor breaks his faith for the sake of another patient. In her first interview with the physician, the Angel of Death rises in spectral shape from the waters of the river, but afterwards she assumes various human forms, and mingles with the rest of the personages, regarded by all, save the privileged doctor, as an ordinary mortal. In theapartment of an apparently dying Count, she takes herplace as a notary, but she leaves the patient untouched, while she touches a rapacious legatee, who is longing for his decease, and is instantly struck with apoplexy. Werner, who watches her movements, is able to predict that the Count(Mr. Basil Potter) will recover, and that the legatee will perish,and thus gains great glory, while Dr. Von Block (Mr. H. Widdicomb), the medical pretender, who foretells contrary results, is loaded with ignominy. In a ball room the Angel takes the form of a coquettish beauty, and by the fascination she exercises on the Count's son Karl (Mr. J. 6. Shore), foreshadows the danger which that young gentleman will incur in a duel with Colonel Lambech (Mr. Ryder), a bold, bad man, who insists on becoming the husband of the Count's daughter Margaret, (Miss Louisa Angel), although the lady herself, her father, and her brother decidedly prefer Werner, now a rising man. Brother and lover are both challenged by the terrible Colonel, who in a duel, fought in a snow-covered wood, wounds the former and is slain by the latter, the Angel of Death hovering about him like an old hag, and sweeping away the snow so as to leave an open place for his fall. The lucky physician is now about to marry his beloved Margaret, but the Angel appears among the bridesmaids, ana1 tells him that he must sacrifice his bride or his mother. Terribly perplexed, Werner has recourse to prayer, and the Angel vanishes, informing him that she must yield to a superior power, and leaving him perfectly happy, both as a son and as a bridegroom. Many persons, not case-hardened by the frequent contemplation of stage spectres, will perhaps find this constant personification of ubiquitous death rather chilling than exciting, and to a still greater number will the employment of prayer, as an efficient agent for the solution of a theatrical difficulty, appear highly objectionable. Without, entering on the wide field of controversy which is opened when the stage treatment of the supernatural becomes the subject of debate, we may further observe that the Angel of Midnight, while it presents a series of striking pictures, is not very interesting as a story, and affords very small opportunity for B display of talent on the part of the actors. It is on the scenic effects that the attraction of the piece depends, and possibly the "duel in the snow," which is admirably managed, may take its place among those "sensations" to which modern playgoers attach so much importance. The appearance of the personified Death on the bank of the river and her disappearance through a wainscot at the close of the piece are also very striking, but Miss Marriott may be counselled to be so far coy to the solicitations of the audience as to abstain from coming before the curtain in supernatural habiliments. Ghosts have a right to show themselves everywhere, indoors and out-of-doors, from the palace to the cottage, with one single exception, and that is the narrow boarding situated between a row of footlights and a fallen curtain.

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Will make his firstappearancethis Season.

PROGRAMME. * P**T I.—Quartet, in C sharp, Op. 132, for two Violins, Viola and Violoncello MM. Joachim, L. Ries, H Webb and Pmtti (Beethoven). Song, " The Lady's Wish," (first time at the Monday PupuUr Concerts), Miss Pools (W. V. Wallace.) Sonata, "Ne Plus Ultra," for i'lanoforte Solo (repeated by general desire). Miss Arabella Goodahd (Woelfl).

Past. II.—Sonata, in B flat, for Pianoforte and Violin, Miss Arabella Goddard and Herr Joachim (Oiusek). Song,'* In a drear-nighted December" (first time at the Monday Popul if Concerts), Miss Poole. Trio, in E flat, for Pianoforte, Violin and Violoncello (firsttime .a the Monday Popular Concerts), Miss Arabella Goddard, Herr Joachim and Signor Piatti (Hummel).

Conductor, Mr. Benedict. To commence at eight o'clock precisely.

Notice.—It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last Instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption.

*,* Between the last vocal piece and the Trio an interval of Five Minutes will be allowed. The Concert will finish before half-past ten o'clock.

Stalls, 5s.; Balcony, m... Admission, Is.

Tickets to be had of Mr. Austin, at the Halt. 28 Piccadilly; Chap Pell & Co. bO New Bond Street, and of the principal Mtisicsellers.


On the 26th instant, at St. Mary Abbott's, Kensington, by the Rev. F. T. Cousins, M.A., Head Master of the Grammar School, Nottingham, brother of the bridegroom, William George Cusins, Esq" of New Cavendish Street, Portland Pluce, to Louisa Mary, eldest daughter of G. H. Ladbury, Esq., of Upper H .lloway.

TO CORRESPONDENTS. Greenock Organ.—Next week.

Herr Pacer's Pianoforte Concerts.—A detailed report of the last three concerts is in type, and will appear forthwith.

The Concert At St. James's Hall, for the benefit of the Hartley Colliery Fund, will be noticed in our next

The Philharmonic Society In London, by George Hogarthreceived; and will be reviewed in our next.

S—Y B—s.—Is "Floll" another Scotch cuUclIator? and from the Out Isles, too? If so, let him read Culver tail on Grouse, or consult the divine Aurelius Prudentius, who writes at the end of the diatribe against nyctalops (theological nyctalops);

"Nodos ten.ices, recta Rumpit REGULA
Infest* dissertantibus.
Idcir. o Mundi STU I.TA delegit Deus,
Ut concldant Sophistic*."

After this what becomes of the mythos of Hay and Maple f

Dilettante.—On the contrary; the Bruges paper writes as follows:— **I1 y a quclques jours on joua les Diamants de la Couronne et tin vaudeville nouvcau; la recette s'cleva a 12 francs 75 centimes!! L'ouvrage obtint un succds legitime; on le reprit mardi dernier ct devinez a quel chiffre la recette s'cleva? A 6 francs 70 centimes 11

; Satisfaites done, au moyen depareilles rcccttes, lesnombreuses obligations qui p&sent sur unc administration theatralc." What docs "Dilettante" say to that?

A Pattist.—"A Pattift" is right in some particulars and wrong in others. With some pains we have been able to find the article which appeared in the Dublin paper, and which we hope will satisfy oar tympanitic correspondent;—

** On Saturday last the opera Maria was advertised for the benefit of Mile. Patti, and it was further announced that she would sing, not only 'The last rose of summer,' but also 4 Home, sweet home,' and 'Within a mile of Edinboro' town.' The house was crowded to such an extent that numbers were unable to obtain admission, and in several ca*«-s people were allowed the privilege of an entree to the stage. The performance was one of the greatest successes this favourite artist has ever achieved, and the encores were numerous; but the great feature of interest wa§, of course, the ballads, sung in the English language. The execution of thesn was so perfect, and the enunciation of the words so clear and distinct, that there were no bounds to the expressions of delight, and Mile. Patti received an ovation such as is almost unknown anywhere but In Dublin. At the conclusion, the rapture of the audience had risen to its highest point, and when the prima donna was called forward, she was literally 'prlletl* with bouquets; but at this moment a circumstance occurred

which produced a feeling of depression among the Immediate witnesses. Patti had made her final how, and was disappearing behind the curtain, when a large glass bottle, flung, it was believed, from the upper gallery, fell upon the stage, and was shivered into a hundred pieces. Had it been thrown one second sooner, the consequences might have been very serious, but fortunately no particle of the glass touched the lady, nor did anybody indeed suppose the act tended as other than an outburst of wild enthusiasm. The charming singer merely exclaimed, 'How very strange! Was there anything in it?' and in a short time she was prepared to take her departure from the theatre. When she reached the stage door another scene presented itself, which showed that the events of the evening had not yet reached their grand climax. The weather was wet and stormy; but nevertheless a multitude had congregated outside, entirely filling the small street, and shouting with such determined energy, that the neighbourhood was 'frightened from its propriety.' A street cab (not a private vehicle, as is usual on such occasions) had been provided for the lady, and when she made* her appearance the horse had been removed, and the mob attached ropes to the shafts. With the aid of these they dragged the vehicle from the theatre to Morrison's Hotel, several of the ringleaders mounting the roof add others clinging to the back. The shouts of the populace followed them to their destination, and » hen they arrived, they begged, or rather insisted, that Mile. Patti would address a few words t othem from the balcony. This she graciously agreed to do, and, presenting herself in the balcony, notwithstanding the drenching rain, thanked tier Dublin friends cordiallv for their generous patronage, and showered upon them the bouquets she li»d received from the audience. Thus termin ited the first cu^age-rent of sella. Patti at the Theatre Royal, Dublin, and as no mischief arose from the popular excitement, the favoured artist testified her desire to pay a second visit to the Irish metropolis as soon as circumstances will permit."

NOTICES. To Advertisers.Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magazine of Messrs. Duncan Davison & Co., 244 Regent Street, corner of Little Argyll Street {First Floor). Advertisements can be received as late as Three o'Clock r.H., on Iridaysbut not later. Payment on delivery.

I Two lines and under 2s. Qd.

ft trms { Evel.y additional 10 words Qd.

To Publishers And Composers.All Music for Review in The Musical World must hencefoncard be forwarded to the Editor, care of Messrs. Duncan Davison & Co., 244 Regent Street. A List of every Piece sent for Review will appear on the Saturday following, in The Musical World.

To Concert Givers.No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.


To the Editor of the Musical World.

SIR,—The subjoined paragraph appeared in a recent impression of the Leeds Mercury, transferred, as you will perceive, [from the columns of the Sheffield Independent:

"proposed Triennial Musical Festival In Yorkshire. — We understand that steps have been taken which will, it is confidently hoped, lead to the establishment of a Musical Festival, to be held triennially in Sheffield, Leeds, and Huddersfield. The Mayor of Sheffield (John Brown, Esq.) and the Mayors of Leeds and Huddersfield, have met and consulted on the feasibility of the project, and we believe the result has been the opening of negotiations with the Yorkshire Choral Union and the numerous choral societies for which Yorkshire is famous. It is not doubted that with such a large body of vocalists — who have mainly contributed to the success of the great music meetings throughout the country — the district which includes Leeds, Sheffield and Huddersfield ought not to be without a festival of its own, which shall be worthy of its importance and musical talent. The festival would be for the benefit of the infirmaries and hospitals in the town in which it would be held. The promoters of the scheme feel themselves greatly encouraged by the position which the Birmingham festival—held for n similar benevolent purpose — has achieved in the English musical world. The great festival at Norwich, and the cognate gatherings of the three choirs at Hereford, Worcester and Gloucester, have also become celebrated as affording opportunities for the display of the first musical talent of the country; and with these examples before them the promoters of the Yorkshire Festival need not despair of success, if their scheme is properly launched. The great obstacle to be encountered in Sheffield would, of course be the (present) want of accommodation for such an assembly as would be called together. We hope to seo the scheme fairly before the public in a short time."— Sheffield Independent.

Many of the most active members of the Leeds Musical Festival Committee, I have reason to believe, know nothing whatever of the "proposed Triennial Yorkshire Musical Festival," and if the Mayor of Leeds has consulted with yet other Mayors on the subject, it is, I am assured, entirely without the knowledge or sanction of those influential gentlemen who form the Committee, and at whose board he officiates as Chairman. The paragraph states that the result of the negotiations which have been opened, is an application to the Yorkshire Choral Union, and the numerous choral societies for which Yorkshire is famous.

I am assured that no application has been made to the Bradford Festival Choral Society, the largest single vocal association in Yorkshire, or to the Leeds' Madrigal and Motet Society, the next in importance and numerical strength. It is not unlikely, therefore, that the "negotiations" have so far been confined to the Yorkshire Choral Union, and to its conductor, Mr. Burton, who may possibly covet the conductorship of the "proposed Triennial."

So far as Sheffield and Huddersfield are concerned, the proposal is simply a farce, inasmuch as neither of these towns has a Music Hall anything like capacious or decent enough for such an undertaking as a "grand musical festival." If the suggestion put forth by the reporter for 'The Times, on the occasion of the first Leeds Musical Festival — that a triennial meeting might very well be established " in Leeds, Bradford and York"—could be carried out, that would be a sensible and, I believe, an entertainable proposal. But the implied association with Sheffield and Huddersfield can only mean that Leeds is to help those towns into some sort of a musical position and importance, to which neither their resources nor their influence at present warrant their aspiring. My own suspicion (and it is shared by very many) is, that the scheme thus unexpectedly made public is the revival, under a new physiognomy, of an old and deeplylaid plan to supersede the Leeds Musical Festival proper (which will, nevertheless, assuredly come on again in due course) and its eminent conductor, Dr. Sterndale Bennett, by something of a very inferior stamp, and in favour of a conductor whose highest qualification is that of an industrious and eager chorus-" coach."

I know not whether, on Dr. Bennett's account, or on that of poor menaced Leeds, or no matter on what grounds, you may find the matter worth some remarks in the Musical World; but I have thought it desirable, in the'interest of music in "the Ridings," to give you the opinions held by a large circle at Leeds on the matter, and upon which you may base, from your own independent point of view, any observations you feel disposed to make. I am, Sir, yours obediently,

An English Musician. P.S. Your able and caustic contributor, Mr. Henry Smart, could well deal with the subject, if he pleased, and you were agreeable. He is well "up " in the musical politics of Leeds.

Birmingham, Clarendon Hotel, Feb. 26, 1862.

IT is now the first of March, and the Musical season as yet shows no sign of movement or vitality. There is not a pen stirring nor a tongue wagging to indicate the delight and excitement so confidently predicted for the year 1862— be year of the Second Great International Exhibition, when

all the world, cum multis aliis, are expected in London. Has anticipation grown ashamed of its enthusiasm, or has hope burnt down to the socket? Are we to conclude this dulness to be the lull before the coming storm, and is the deep silence merely the usual forerunner of vast and exhilirating events? We know not. We think that pens are always too eager to be communicative when news is valuable, and that words will come forth when the mind is laden. We fear, indeed, there will be disappointment somewhere, but do not like to encourage depression on the threshold of an important undertaking.

To commence with the Italian Operas. But a few weeks since, three Italian Operas were counted upon. It is now doubtful if Her Majesty's Theatre will open at all, and IJruryLane is advertised "to let." Of the Royal Italian Opera not a syllable is breathed, and the name of Mr. Frederick Gye is as if it never had been. We are not, however, therefore to infer that the shrewd and diligent impresario of the Covent Garden Italian Opera is resting on his oars, or even on one scull. No doubt we shall hear shortly how zealous and indefatigable he has been in his endeavours to procure a successor to Mad. Grisi—no easy matter, as our readers will readily understand. To one whose ears are ever open to musical rumours all over the world, the names of Mile. Trebelli and Mile. Lucca cannot be strange. Both these ladies have recently earned high honours, one in the Austrian, the other in the Prussian Capital. Whether either is equal to represent the Pasta and Grisi line of character we cannot say, judging from the reports of the German papers. We may feel assured, however, that Mr. Gye has heard both ladies, and that he will be enabled to decide as to their especial capabilities. Mr. Lumley, too, is said to have entered into an engagement with a young prima donna of the highest talents, Mad. or Mile. Galetti, as her admirers assert, the very beau ideal of a grand lyric artist. We shall be delighted to hear all three ladies at one or other of the London Italian Operas, when we shall be able to pronounce which is most likely to make us forget the Norma of the last twenty years.

A lustre or so since, and at this time of the year the prospectuses for both Her Majesty's Theatre and the Royal Italian Opera had been some days before the public. The second week in March, indeed, was the customary period for commencing operations. Some thirty years ago, the Italian Opera was in full swing in March, having opened in February, and what was called the anti-Easter season was often the most attractive of the year. About the year 1830, 1831, 1832, or 1833,—"we like to be particular in dates,"— we remember seeing perform together, in the Donna del Logo of Rossini, in the last week of February, Sontag, Pisaroni, Rubini, Donzelli, and Zuchelli, or Lablache. The season is growing later and later every year, just like the fashionable dinner hour, until one may suppose that, in its gradual process of retardation at the beginning, and elongation at the end, it will come round to the winter, and 60 we may again expect Italian Opera to make its annual appearance with the Epiphany, as in the days of Camporese, Fodor and Colbran.

The directors of the Crystal Palace alone have spoken out and with most particular organ. They have issued their pronunciamento for the forthcoming season, which is copious, explanatory, and full of promise. No preliminary statement, indeed, could be clearer, more concise, and satisfactory than that contained in the little book which has been sent free of charge all over London—a novel and safe mode of advertising, planned, no doubt, in the fertile brain of of Mr. R. K. Bowley, the active and intelligent manager. In this little book is set forth all that may be expected from the forthcoming Handel Festival, and assuredly a more brilliant programme could hardly be conceived. We refer the reader to the document itself, wherein he will find the plan of the Festival laid out at length, and all the necessary details provided. Taking all things, for and against, into consideration, we cannot reasonably entertain a doubt that the Handel Triennial Festival, at the Crystal Palace, will be one of the greatest features, if not the greatest, of the season.

If these desultory and discursive remarks prove nothing else, they will show, at least, that there is at this moment with one exception — an important one, indeed — no musical excitement abroad, no art-speculation afoot, no novelty talked about, no interest involved, nothing, in short, to originate a subject for a leader, which should be the abstract and brief comment on some passing event or projected measure. Let us hope that something novel or suggestive may turn up by next week

THE Bohemian Girl is, decidedly, one of Balfe's most popular operas in England. Who shall say how many times it has been represented throughout the length and breadth of the land? who shall decide how many young ladies, after exacting a vast amount of solicitation, and declaring emphatically that they were sure "they could not;" they had "such a cold,"— a calamity which is usual, nay, it would appear, indispensable, on such occasions—have, at last, said "they would try," though they knew "they should make, Oh, such a failure !"— and then, screwing themselves and the music-stool up to the proper pitch, delighted evening parties by warbling out the assertion that they dreamed they dwelt '' in marble halls," — an assertion which makes our teeth chatter at the present moment, when the east wind is freezing the very marrow in our bones ?—who shall settle how many pairs of lips have whistled along our leading thoroughfares and most retired back lanes, in the neighbourhood of the Pall Mall Clubs as well as in the purlieus of Wapping, and, in a word, in every nook and corner of this vast metropolis, a certain legend connected with the period, " when the fair land of Poland was ploughed by the hoof of the " &C. &C.? Who can answer the above questions? Can any one do so, including under the expression "anyone" all the members, past, present and to come, of the Statistical Society itself? We should say not. But the popularity of The Bohemian Girl has not been confined to the United Kingdom alone. This opera is as great a favourite at the antipodes; it is as attractive in Melbourne and Ballarat, as it is in London, while it has drawn thousands and hundreds of thousands, both of operagoers and dollars, in America. Nay, more than all this: it has established itself as a universal favourite in Germany, and, if we mistake not, was the musical work selected for performance at the Congress of Stuttgart, in 1855, when the two Emperors, Napoleon and Alexander, together with the King of Wurtemberg, met in that city. Nor is it a stranger to the theatres of Italy,where its charming melodies have made it a stock-piece. There is one country alone into which it has not yet penetrated, and that country is France. But even there it will shortly be appreciated, for it is announced to be brought out at the Rouen theatre on the 15th or 20th March. The manager, M. Rousseau, has set a good example, and one which his Parisian confreres,

would do well to imitate, in thus introducing such it work to the notice of his compatriots. There cannot be the slightest doubt that M. Rousseau will find his own judgment confirmed by the approbation of the public, and his receipts agreeably increased, particularly as the opera will be placed on the stage in the most liberal manner. The scenery and dresses will, according to report, be exceedingly magnificent, and the distribution of the various parts highly satisfactory. There is, also, another guarantee—were another wanting— of success, in the fact that the French version of the libretto is from the pen of M. de Saint-Georges, so celebrated for his triumphs in this particular branch of dramatic literature.

Her Majesty's Theatbe. — M. Bagier—Mile. Sarolta—Sig. Nicolo Lablache—Sig. Brizzi— Mad. Puzzi—M. Mapleson—Mr. Lumley—Mr. E. T. Smith—the Earl of Dudley—Mile. Titiens (Tietjens) — Sig. Giuglini — Mr. Benedict — Mr. John Mitchell (of " No, 33 "), &c, &c, &c, have more or less undertaken the direction of this establishment for the ensuing international season. Everybody having "signed" something or other, unless Mr. Gyo makes a bargain for " the occlusion of portals previously patulous" (which is also asserted), it will be very hard if, he. For further information consult the Era.

Royal English Opeba.—Mr. Benedict's opera. The Lily of Killarney, has been now performed seventeen times in succession, and the verdict of the first night has been more than confirmed. So decided, indeed, is the success of the new work, that it has been determined to run it to the end of the season uninterruptedly. Mr. Wallace's opera, however, is not to be shelved. We hear that the directors of the Royal English Opera have taken Drury Lane for the summer, and that Mr. Wallace's new work will inaugurate the "appendix "-season. Miss Louisa Pyne had two nights' repose on Monday and Wednesday last, when Miss Thirlwall sustained the part of Eily O'Connor in a manner highly creditable to her talents. Miss Pyne has, however, resumed her original part.

Sacred Harmonic Society.—Last night the Lobgesang (Mendelssohn), and the Stabat Mater (Rossini) were given for the first | time this season—the principal singers, Mile. Titiens (Tietjens), Miss Fanny Rowland, Mad. Sainton-Dolby, Mr. Wilbve Cooper, and Sig. Belletti. Every place was taken. On Friday next, the same programme will be given to accommodate those who were unable to obtain admission yesterday. Mile. Titiens (Tietjens), however, being engaged for a month at Barcelona, Mile. Parepa will replace her in the soprano music.

Herr Joseph Joachim has arrived.


Miss Elena Conban, the young Irish lady, who produced such a favourable impression, some short time since, at the Monday Popular Concerts, is at present with Mad. Grisi in Paris. She has already become a great favourite in the salons of the fashionable world, where her singing has excited the admiration of all who have heard her. During the past week, she created quite a sensation at Mad. de Morny's soiree, on which occasion she was most warmly congratulated by all present. There is no doubt Miss Elena Conran is destined soon to achieve a high position on the lyric stage.

The Paris Conservatory Concerts. (From an occasional Correspondent.') The programme for the third of the present series of these concerts, comprised the following compositions: 1. Overture to Fidelio, Beethoven; 2. "Benedietus," from the Mass in D, Beethoven; 3. Seventh Symphony, Mozart; 4. Fragments from the first act of Iphigenie en Tauride, Gluek; and 5. "Jubel-Ouverture," Weber. The overture to Fidelio would have been admirably played but for an unhappy fit of trepidation with which a gentleman, who shall be nameless, was seized while executing an important solo. Weber's overture produced a greater effect than it did last year. The clarionet

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