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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

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 Iphigenie 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.

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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 Mile. Parepa, Miss Corclli, Messrs. J. L. Hatton, Montem Smith, and Allan Irvine. Mile. Parepa is endowed with a soprano voice of much sweetness ; and, if not of such extended compass as that of Miss Louisa Pi ne, 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 noticeablo The band was efFHent, 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 Wirrul 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 talkcd-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 Wclford, 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 if 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 'Benedictua.' 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 tho glee, ' See the chariot at hand,' well/ sung by the choir. The duet, ' Solt sleep ' {Trovatore), was given by Miss Welford and Mr. Clelland, and Mr. Lambert in Benedict's air, 'Rage, thou angry storm,' met with an enthusiastic encore. Mr. 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.'"

The last Gentlemen's Concert (so-called) in the Concert Hall, conducted by Mr. Charles Halle, was rendered doubly interesting by the first appearance of the celebrated composer and pianist, M. Stephen Heller, before a Manchester audience. The following account of the performance is taken from the Manchester Examiner:

"At the concert last evening the pianist and composer, Stephen Heller, was introduced to a Manchester audience, when, beside some of his own pleasant compositions, he joined Mr. Halle in a duet for two pianofortes, selecting Mozart's 'Concerto in E flat,' and adding to it a

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 tho
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 Shakespeare or Milton. Wo desire to
■ say this with every respect for M. Heller, who has shown to tho musical
I world, with his dreamy imagination and fancy, how well he understands
the poetry of h:s art. The ' cadenzas' were talented pieces of workman
ship; 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 'Landler,'
Prelude in D flat, Nuits blanches (No. 17), and TarantelU 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. Guerrabclla
and Mr. Wdbye 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 Hohjrood with skill, as well
as in good taste. Mad. Guerrabella added to her Manchester reputa-
tion by the singing of Beethoven's ' Per picta' and Costa's 'Dull' asilo
dclla poser' in the former showing fine declamatory power, with much
intelligent expression, and in the second a richness of ornament bril-
liantly executed. She also pleased many who remember the beauty of
Sir Henry Bishop's early productions, by introducing tho song of the
'Mocking bird,' with which Miss Stephens used tu delight her audiences
some forty years ago. The song is as fresh as ever, and wo were glad
to find a young vocalist like Mad. Guerrabclla having an appreciation
of our English composer."

The mistake about the cadenzas was not likely to escape Mr. Halle'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 tho 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 he 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 resume of the whole work; that this ha?, 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 tests of the musician's faculties. Thanking you for the space you have kindly allowed me, I remain, yours very obediently,

"Charles Halle.

"Greenheys, Feb. 13, 1862."

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


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

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