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MONDAY POPULAR CONCERTS. enthusiasm. The charming singer merely exclaimed, How very strange! Was

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PART I.-Quartet, in C sharp, Op. 132, for two Violins, Viola and Violoncello MM. JOACHIM, L. RIES, H. WEBB and PIATTI (Beethoven). Song," The Lady's Wish," (first time at the Monday Popular Concerts), Miss POOLE (W. V. Wallace. Sonata, "Ne Plus Ultra," for Pianoforte Solo (repeated by general desire), Miss ARABELLA GODDARD (Woelf).

PART. II.-Sonata, in B flat, for Pianoforte and Violin, Miss ARABELLA GODDARD and Herr JOACHIM (Dussek). Song, "In a drear-nighted December" (first time at the Monday Popul ir Concerts), Miss Poole. Trio, in E flat, for Pianoforte, Violin and Violoncello (first time at 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, 3s.; Admission, Is. Tickets to be had of MR. AUSTIN, at the Hall, 28 Piccadilly; CHAPPELL & Co. 50 New Bond Street, and of the principal Musicsellers.

MARRIED.

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

TO CORRESPONDENTS.

GREENOCK ORGAN.-Next week.

HERR PAUER'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 cultellator? and from the Out Isles, too? If so, let him read Culvertail on Grouse, or consult the divine Aurelius Prudentius, who writes at the end of a diatribe against nyctalops (theological nyctalops):—

"Nodos tenaces, recta RUMPIT REGULA Infesta dissertantibus.

Ideirco Mundi STULTA delegit Deus, Ut concidant Sophistica."

After this what becomes of the mythos of Hay and Maple? DILETTANTE.-On the contrary; the Bruges paper writes as follows:"Il y a quelques jours on joua les Diamants de la Couronne et un vaudeville nouveau; la recette s'éleva à 12 francs 75 centimes!! L'ouvrage obtint un succès legitime; on le reprit mardi dernier et devinez à quel chiffre la recette s'éleva? A 6 francs 70 centimes!! Satisfaites donc, au moyen de pareilles recettes, les nombreuses obligations qui pèsent sur une administration théâtrale." What does "Dilettante" say to that?

A PATTIST.-"A Pattist" 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 our sympattitic correspondent:

"On Saturday last the opera Marta was advertised for the benefit of Mlle. Patti, and it was further announced that she would sing, not only The last rose of summer," ,' but also 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 cases people were allowed the privilege of an entrée 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 was, of course, the ballads, sung in the English language. The execution of these 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 'pelted' with bouquets; but at this inoment 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 partic'e of the glass touched the lady, nor did anybody indeed suppose the act tended as other than an outburst of wild 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 and others clinging to the back. The shouts of the populace followed them to their destination, and when they arrived, they begged, or rather insisted, that Mlle. Patti would address a few words to them from the balcony. This she graciously agreed to do, and, presenting herself in the balcony, notwithstanding the drenching rain, thanked her Dublin friends cordially for their generous patronage, and showered upon them the bouquets she had received from the audience. Thus terminated the first engage.nent of ille. 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."

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SIR,

The Musical World.

LONDON: SATURDAY, MARCH 1, 1862.

A MAYOR'S NEST.

To the Editor of the MUSICAL WORLD. IR,-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 a 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 see 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 deeply laid 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.

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 Drury Lane is advertised "to let." Of the Royal Italian Opera is as if it never had been. not a syllable is breathed, and the name of Mr. Frederick Gye 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 Mlle. Trebelli and Mlle. 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 P 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 Mlle. Galetti, as her admirers assert, the very beau idéal 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 Lago of Rossini, in the last week of February, Sontag, Pisaroni, Rubini, Donzelli, and Zuchelli, or Lablache. The fashionable dinner hour, until one may suppose that, in its season is growing later and later every year, just like the gradual process of retardation at the beginning, and elongation at the end, it will come round to the winter, and so 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 sure mode of advertising, planned, no doubt, in the fertile brain of

IT of 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 year of the Second Great International Exhibition, when

he

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

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would do well to imitate, in thus introducing such a 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 wantingof 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.

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HER MAJESTY'S THEATRE.-M. Bagier-Mlle. Sarolta-Sig. Nicolo Lablache-Sig. Brizzi-Mad. Puzzi-M. Mapleson-Mr. Lumley-Mr. E. T. Smith—the Earl of Dudley-Mlle. 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. Gye makes a bargain for "the occlusion of portals previously patulous" (which is also asserted), it will be very hard if, &c. For further information consult the Era.

ROYAL ENGLISH OPERA.-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 "-s -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, Mlle. Titiens (Tietjens), Miss Fanny Rowland, Mad. Sainton-Dolby, Mr. Wilbye 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. Mlle. Titiens (Tietjens), will replace her in the soprano music. however, being engaged for a month at Barcelona, Mile. Parepa

HE 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 " any one all the members, past, present and to come, of the Statistical Society itself? We should say not. But MISS ELENA CONRAN, the young Irish lady, who produced such the popularity of The Bohemian Girl has not been confined a favourable impression, some short time since, at the Monday to the United Kingdom alone. This opera is as great a Popular Concerts, is at present with Mad. Grisi in Paris. She has favourite at the antipodes; it is as attractive in Melbourne already become a great favourite in the salons of the fashionable and Ballarat, as it is in London, while it has drawn world, where her singing has excited the admiration of all who thousands and hundreds of thousands, both of operation at Mad. de Morny's soirée, on which occasion she was most have heard her. During the past week, she created quite a sensagoers 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 Stuttgardt, 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 confrères,

HERR JOSEPH JOACHIM has arrived.

Elena Conran is destined soon to achieve a high position on the warmly congratulated by all present. There is no doubt Miss 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. "Benedictus," from the Mass in D, Beethoven; 3. Seventh Symphony, Mozart; 4. Fragments from the first act of Iphigénie en Tauride, Gluck; have been admirably played but for an unhappy fit of trepiand 5. "Jubel-Ouverture," Weber. The overture to Fidelio would dation 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

solo, in the middle of it, was deliciously executed by M. Leroy. Mozart's Seventh Symphony was loudly applauded, particularly the allegretto. The menuet was encored. Beethoven's "Benedictus," was execrably sung, while, on the contrary, the selections from Iphigénie en Tauride was admirably given. M. Massal was especially good.

MILAN. A correspondent informs us that the new opera, L'Uscocco, by Signor Petrocini, which had been some time in rehearsal at the Scala, was produced on Monday night with a success, almost entirely owing to the talents of Mad. Csillag, who, both as singer and actress, won golden opinions from all who heard her. It is doubtful, indeed, if the new opera would have survived to the end without her. Indeed, the great Hungarian artist has been the principal support of the Scala this season, and when she does not appear, there is a manifest diminution in the attendance.

Provincial.

FROM the Liverpool Post (date, Feb. 27th), we learn the following particulars of the third concert of the Wirral Philharmonic Society:

"The concert was held at the new Music Hall, Birkenhead, last evening. The principal vocalist were Mlle. Parepa, Miss Corelli, Messrs. J. L. Hatton, Montem Smith, and Allan Irvine. Mlle. Parepa is endowed with a soprano voice of much sweetness; and, if not of such extended compass as that of Miss Louisa Pyne, is emphatically musical. Miss Corelli sang one or two pieces very neatly; she has a pleasing contralto voice, its great deficiency being a want of flexibility. Mr. Allan Irvine and Mr. Montem Smith, both sang with taste and feeling; and the veteran Mr. J. L. Hatton was as whimsical as ever. The chorus singers deserve a word of praise, there being a happy blending of their voices and a correctness of time that were noticeable. The band was efficient, the stringed and the wind instruments being in complete unison. The performers on the first violin, the violoncello, and the bassoon, especially distinguished themselves. Indeed, the concert throughout was such as to do the Wirral Philharmonic Society high credit. The splendid hall was well filled."

From a report in the Durham Chronicle we make an abstract of the Musical Festival which was recently given at Barnard Castle:"The long talked-of musical festival. given by the Sacred Harmonic and Choral Society, embraced two performances, viz., on Friday morning, Mozart's 12th Mass; and in the evening, a miscellaneous concert. The principal vocalists were Miss Welford, Miss Charlotte Naisbitt, Mr. Clelland, and Mr. Lambert, of her Majesty's Chapel Royal. The orchestra embraced a large array of talent from Newcastle-upon-Tyne, Stockton and Darlington. The Mass, on the whole, was a successful performance. Miss Welford and Miss Naisbitt both sang effectively. Mr. Clelland has a tenor voice of much sweetness, though not powerful. Mr. D. Lambert's bass voice was well displayed in the 'Benedictus.' Of the choruses, the Gloria' was taken too quickly, and in the 'Quoniam' several of the tenors and basses sang wrong notes through the whole piece. In the 'Credo,' they however, won great applause. The evening concert opened with the glee, 'See the chariot at hand, well sung by the choir. The duet, Soft sleep' (Trovatore), was given by Miss Welford and Mr. Clelland, and Mr. Lambert in Benedict's Mr. air, Rage, thou angry storm,' met with an enthusiastic encore. Lambert was encored in the whole of his four songs. A pianoforte solo on airs from Trovatore was well played by Miss Clelland, a pupil, we believe, of Mr. Raper. The concert terminated with God save the Queen.'"

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couple of his own cadenzas composed expressly for this occasion.' We believe this sort of intrusion is considered amiable' and legitimate ' by those who profess to have judgment in these matters. We know there is precedent for it,-plenty of precedent, Moscheles among the rest, but that does not set aside the principle which demands respect for the creations of genius, and that would cry out against our modern laureate, with all his acknowledged poetic feeling, introducing one of his cadenzas' into the works of Shakspeare or Milton. We desire to say this with every respect for M. Heller, who has shown to the musical world, with his dreamy imagination and fancy. how well he understands the poetry of his art. The cadenzas' were talented pieces of workmanship; but they were far from adding to the enjoyment of the charming concerto, interfering, as they did, with the natural flow of Mozart's interesting theme. There was nothing particularly remarkable in the performance of the other pieces alluded to, which were Ländler,' Prelude in D flat, Nuits blanches (No. 17), and Tarantelle in A flat, the last winning an encore; but they are all original, imaginative, and full of character; whilst it could not be otherwise than interesting to hear these pieces played by the gifted composer. Mad. Guerrabella and Mr. Wilbye Cooper were the vocalists. The latter has recently returned from a study in Italy, and in certain qualities, such as delicacy of expression, seems to have gained by his visit to the sunny South. He sang a graceful melody from Leslie's Holyrood with skill, as well as in good taste. Mad. Guerrabella added to her Manchester reputation by the singing of Beethoven's Per pieta' and Costa's Dall' asilo della pace;' in the former showing fine declamatory power, with much intelligent expression, and in the second a richness of ornament brilliantly executed. She also pleased many who remember the beauty of Sir Henry Bishop's early productions, by introducing the song of the 'Mocking bird,' with which Miss Stephens used to delight her audiences some forty years ago. The song is as fresh as ever, and we were glad to find a young vocalist like Mad. Guerrabella having an appreciation of our English composer."

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The mistake about the cadenzas was not likely to escape Mr. Hallé's observation, and accordingly the subjoined letter appeared next day in the same journal :

"To the Editor of the Examiner and Times.

"SIR,- The remarks of your musical critic on yesterday's concert must lead your readers to believe that the introduction of cadenzas into Mozart's concertos is optional with the performer. I feel sure you will allow me to remove such an impression, and to inform the writer of the paragraph, as well as your readers, that, in all concertos by Mozart, in five out of the six written by Beethoven, and in almost every other instance (Mendelssohn excepted)- cadenzas, the place for which is distinctly marked and prepared for in a peculiar manner known to all musicians, cannot be dispensed with without destroying the symmetry of the work or involving its mutilation. It is hardly necessary to explain that the object of these cadenzas is to recapitulate the principal ideas contained in the movement at the conclusion of which they are introduced, to condense them, present them in a new form, and, in short, to give a résumé of the whole work; that this has, perhaps, in no instance on record been done in a more masterly manner than by Mr. Heller yesterday, all musicians present at the concert will readily acknowledge. Far from being an intrusion,' or a violation of the principle which demands respect for the creations of genius,' the composition of cadenzas is in strict accordance with the intentions of our greatest composers, and has always been regarded as one of the severest kindly allowed me, I remain, yours very obediently, tests of the musician's faculties. Thanking you for the space you have

"Greenheys, Feb. 13, 1862."

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"CHARLES HALLE.

Mr. Halle's "English," by the way, is as polished as his definition of cadenza is correct. "Herr Hallé" he should be called no

more.

NEURALGIA.-The Lancet some weeks ago contained several Dr. O'Connor, at the Royal Free Hospital, Gray's Inn Road, with severe cases of neuralgia, which have been recently treated by remedy were manifested with such striking success as cannot fail valerianate of ammonia, in which the remarkable powers of that to attract the attention both of the medical profession and the public.

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VOCAL MUSIC.

MAMMA
AMMA WON'T BRING ME OUT. Sung by Mrs.

YANKEE DOODLE. ASHDOWN & PARRY, 18 Hanover Square.

H. W. GOODBAN. ROSALIE, THE

FLOWER. Price 3s.

ULES

ASHDOWN & PARRY, 18 Hanover Square.

BRISSAC.-T'AMO,

PRAIRIE

SI T'AMO The

Mazurka from Verdi's" Un Ballo in Maschera." Price 3s.

ASHDOWN & PARRY, 18 Hanover Square.

ULES BRISSAC. DIXEY'S LAND. Price 3s.

JULES

- TALLY HO! Fantasia (à la

ASHDOWN & PARRY, 18 Hanover Square.

ICARDO LINTER.
Chasse). Price 3s.

ASHDOWN & PARRY, 18 Hanover Square.

RIC

J. RUMMEL.-ESPOIR DU RETOUR.

Price 3s.

ASHDOWN & PARRY, 18 Hanover Square.
Nocturne.
ASHDOWN & PARRY, 18 Hanover Square.

RUMMEL. SOLITUDE.

Nocturne.

Price 3s.

EDOUARD DE PARIS-MEZZANOTTE. Fantasia

J.

Sung by Mrs.

E

HENRI

G. REED, composed by T. GERMAN REED (illustrated). Price 3s.

1 NEVER DOES NOTHING AT ALL. Sung by Mrs. G. KEED, composed by T.
GERMAN REED (illustrated). Price 3s.
CRAMER, BEALE & Wood, 201 Regent Street.

THOU TO WHOM MY LOVE IS ALL MY CARE.

Sung by Mr. WALTER BOLTON, composed by E. LAND. Price 2s. 6d.
CRAMER, BEALE & WOOD, 201 Regent Street.

BRIGHTLY O'ER LAND AND OCEAN.

Words by G. LINLEY, Music by VERDI. Price 2s. 6d.

ONLY FOR THEE. Song. Sung by MLLE. PAREPA, Words by G. Linley. Price

2s. 6d.

CRAMER, BEALE & WOOD, 201 Regent Street, W.

on the favourite quartet from Flotow's opera " Martha."
ASHDOWN & PARRY, 18 Hanover Square.

ROUBIER. — ESILDA.

Price 3s.

Price 4s.

Fantaisie-Polka de

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"LL TELL YOU WHY I'D LIKE TO BE A ROSE.

I'LL

Song. H. SMART. Price 2s. 6d.

TELL ME, SWEET ZEPHYR. Song. H. SMART. Price 2s. 6d.
CRAMEE, BEALE & WOOD, 201 Regent Street, W.

GIORNO D'ORRORE. Duet Semiramide, as sung by

the Sisters MARCHISIO (illustrated). Price 2s. 6d.

LE ZINGARELLA. Duet. Composed expressly for the Sisters Marchisio.
BILETTA. Price 3s.

LONDON:

CRAMER, BEALE & WOOD, 201 REGENT STREET, W.,
AND 67 CONduit streeT; ALSO, 207-209 REGENT street.

- VAILLANCE. Morceau Mili

ASHDOWN & PARRY, 18 Hanover Square.

ULES SPRENGER
ULES SPRENGER.-INVITATION à la POLKA.

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