the grand tragic repertory; and indeed we have a notion that the Opera could survive a year or two without any exhibition of Norma, Lucrezia Borgia, the Favorita, the Trovatore, or one or two other works, which for too long a period have exercised so powerful a monopoly. We would willingly put up with the withdrawal for a space of these lyric tragedies for the revival of some of Rossini's operas, and see no reason, with Mlle. Patti in the theatre, why the Conte Ory and Matilda di Shabran should not be reproduced, to say nothing of the Donna del Lago with Signors Mario and Tamberlik, and the Nozze di Figaro and Cosi Fan tutti, cast, as they might be at the Royal Italian Opera, to perfection. But patience is better than speculation, and we shall therefore think nothing more and urge nothing more until Monday week, when the intentions of the management will be laid before us, and will enable us to discourse freely about the prospects of the approaching season. —♦—

To the Editor of the Musical World.

SIR,—An unknown Violin-quartet, by Franz Schubert, was performed at the third "Quartet-Circle" of Herr Hellmesberger and his colleagues, at Vienna. The quartet was given, many years ago, into the hands of Herr Hellmesberger, by Herr Spina, in whose possession it is. How the former could possibly keep it locked up in his desk till now is difficult to understand. It can scarcely be supposed that he never troubled his head about it; yet, had it been played only once by him and his associates, no one could have entertained the slightest doubt as to its worth, though some doubts must really have existed, its public performance having been delayed thus long. This, it is true, presupposes a strange taste in matters of art, particularly when we remember so many novelties, which have thus practically been preferred to Schubert's MS., a work so charming, melodious, and in every movement so animated, while, at the same time, conceived with such musical strictness, nay, even with such unusual brevity, that connoisseurs (and the public no less) were agreeably surprised. The unburied quartet does not by any means belong to those deeper productions, which manifest the genius of Schubert in so unusual and marked a manner; but it would have been cruel to lose it. In luxuriance of imagination it is far superior to many better known works of this inexhaustible master. It was received enthusiastically, and will, in all likelihood, soon be given to the world in a becoming form.

Die Deutsche Musik-Zeitung expresses itself on the subject thus:—

"A hitherto unknown and unpublished stringed quartet in B flat, by Schubert, was performed, and immediately achieved the most decided success. What especially deWghted us was the adagio in G minor, as also the highly original and animated finale. The scherzo, too, which, however, formed part of some other work, and has been substituted for the original minuet, which, as we have been told, was rather too much in the Landler style, is a highly effective piece, and had to be repeated."

As this quartet is to be engraved, you may hope to hear it at the Monday Popular Concerts.

Vienna, March 10th. A. A.


THE Committee of the !Grand Musical Festival of the Lower Rhine, which will take place in Whitsun week, at Cologne, have selected for performance the following works :—

On the first day: Handel's oratorio of Solomon, according to the original score, and with the organ accompaniment

written by Mendelssohn,* for the performance in 1835, which was also held in Cologne.

On the second day: Overture and Scenes from Gluck's Iphigenie in Aulis; "Sanctus" and "Hosanna,"' from John Sebastian Bach's Mass in B minor; Beethoven's Ninth Symphony, with Chorus.

On the third day: Symphony, by Haydn; "Hymne an die Nacht," for solos, chorus and orchestra, by Ferdinand Hiller; Mendelssohn's overture to Ruy Bias— Several vocal pieces.

The solo parts will be sustained by Mad. Louise Dustmann-Meyer, from Vienna (soprano); Mile. Francisca Schreck, from Bonn (contralto); Herr Schnorr von Karolsfeld, from Dresden (tenor) ; and Herr Becker from Darmstadt (bass).

Director of the Festival Peformances, Herr Ferdinand Hiller. Leaders of the orchestra, Herr J. Grunwald, and 0 von Konigslow.


[The following correspondence, which led to the first performances of Elijah by tho Sacred Harmonic Society, in 1847, will be read with interest. It is now for the first time published, by the kind permission of Mr. Brewer, Honorary Secretary.]

(No. I.)

"Exeter Hall, London, 24th Sept., 1846.

"dear Sir,—This production of your new Oratorio at the recent Musical Festival at Birmingham was an event which, in common with the multitudes in this country who derive pleasure from the study and practice of your works, was felt by the members of the Sacred Harmonic Society to be an occasion of peculiar interest and importance; and, rejoicing as they do to find that the work has earned the highest praise in all quarters, they take the liberty to offer you the expression of their sincere congratulations on the marked success which has accompanied this fresh product of your genius.

"The very general attention which has been drawn to the production of the work and to its great merits, has induced an equally general desire to have it performed in London at as early an opportunity as practicable, in order that the inhabitants of the metropolis may taste of the delights which have been afforded to the good people of Birmingham. The Sacred Harmonic Society (who, as you are aware, accustom themselves chiefly to the performance of works of the same class as Elijah) are anxious to have the honour and gratification, which some years ago they had in the case of the oratorio St. Paul, of undertaking it first performance before a London audience. With this view, the committee of the society have desired me respectfully to enquire whether you will permit the society to undertake the first performance of Elijah in this country after the alterations, which they are informed you contemplate making in the work, shall be completed.

"In the event of your kindly acceding to this request, the committee would be glad if they could be informed whether there is any probability of your being in London during the next season, so that, if possible, they might have the advantage of producing the work under your personal superintendence?

"And in order to secure the opportunity of previously acquiring a due knowledge of the work, the committee are further anxious to ascertain whether you would have any

* See Mendelssohn's Letters from Borne.

objection to such portions of the oratorio as you do not intend to revise, being rehearsed by the society in the meantime?

*' Trusting that you will excuse the intrusion of these inquiries upon your notice, and hoping to be favoured with your reply at as early an opportunity as convenient,

"I remain, dear Sir, with much respect and esteem, your very faithful and obedient servant,

"T. Brewer, Hon. Sec.

"Dr. Felix Mendelssohn Bartholdy,

(No. 2.)

"dear Sir,—I Beg to express my best thanks for the letter dated Sept. 24th, and it gives me much pleasure that the Sacred Harmonic Society will undertake the first performance of my Elijah before a London audience. I beg to thank the committee most sincerely for their flattering intention, and of course should be most happy to conduct the work myself on such an occasion, if I can come to London in April next; I hope and trust I may have that pleasure, and that nothing may prevent me from doing so. But I am still doubtful, and cannot give a positive promise as far as regards my coming over; and as for the parts which you wish to have as soon as possible, I shall speak to the editor of them, Mr. Buxton, who I hear is expected shortly in Leipsic, and will ask him to let you have them as soon as they can be ready. With many thanks to yourself and the society, believe me, dear Sir,

Your very obedient servant,
Felix Mendelssohn Baktholdy.

Leipsic, the 1th Oct. 1846.

Royal English Opera. — Mr. Harrison's benefit is announced to take place this evening, when Mr. Balfe's opera, The Rose of Castille, will be performed, with Miss Louisa Pyne and Mr. Harrison in their popular parts of Manuel and Elvira, and other entertainments. Mr. Frederick Clay's new operetta, Court and Cottage, which was announced to succeed the opera, has been withdrawn at the last moment, owing to some difficulties connected with the gentleman to whom was assigned the principal part, and from whom, our readers we think will agree with us, some sort of explanation is due to the patrons of the theatre.

Herr Molique's "abraham."—This great work will be shortly performed at one of the Concerts of the Liverpool Philharmonic Society, under the direction of its eminent composer.

Ma. Henry Lincoln delivered the first of his two lectures on the operatic overture on Thursday night at the Marylebone institution. A report of it Is in type, and will appear next week.

Philharmonic Society.—The first concert of the 50th (the "Jubilee ") season took place on Monday evening, in the Hanover Square Rooms. The attendance was crowded and brilliant. The symphony (only one on this occasion) was Beethoven's Eroica. The overtures were Weber's Jubilee, Schumann's Oenoveva, and Cherubini's Faniska. Herr Joachim played Viotti's concerto in A minor, and a sarabande and bourree (with "doubles ") of J. S. Bach. Mile. Guerabella and Miss Lascelles were the singers. Professor Sterndale Bennett conducted. The band was admirable. Full particulars in our next.

Musical Society. or London.—The first concert of this young and already illustrious society was held on Wednesday evening in St. James's Hall, which was thronged to the door. The symphony was Mendelssohn's in A major (the "Italian ") ; the concerto (violin) Herr Joachim's in D minor, "in the Hungarian manner," the composer himself being also the performer. The overtures were Mozart's Die Zanberflbte, Beethoven's Leonora (No. 1), and Berlioz's Carnaval Itomain. Mad. Sainton-Dolby and Mile. Guerabella were the singers. Mr. Alfred Mellon conducted. The concert was altogether magnificent, as we shall next week endeavour to show in detail.

Mad. Schumann has accepted the invitation to give concerts in Paris, and has already set out for that city. Erard's house have undertaken the arrangements. Every place is already taken for

four concerts.

Vocal Association.—Miss Arabella Goddard, Mad. Florence Lancia, Mad. Laura Baxter, and Mr. Swift, will take part in the first subscription concerts of the Vocal Association, St. James's Hall, on Wednesday next, March 19th. Mr. Aptommas and Mists Arabella Goddard will perform a duet for pianoforte and harp on themes from Linda di Chamouni, and Mr. Jno. Thomas and Mr. Aptommas a duet on two harps. The choir of 200 voices will introduce some new and important features in the concert, the whole being, as usual, under the direction of Mr. Benedict.

Monday Popular Concerts. — So invariable is the excellence of these entertainments, that the critic's office is well nigh a sinecure, and his duty confined to little else than a weekly record of success following success. But the same enterprise which originated the series, and boldly struck out a new path in music (as far as the general public was concerned) has not been content to rest upon its oars, satisfied with having elevated the taste, and improved the judgment of what is now one of the most discriminating and appreciative audiences in England, perhaps in Europe; fresh attractions are added, and no sooner does one artist of eminence terminate his engagement, than another supplies his place, the interest being further maintained by the introduction at each concert of one, if not two, pieces hitherto unheard. The programme of Monday comprised Beethoven's quartet in F minor (No. 11); Weber's sonata in D minor (first time), Boccherini's in A (violoncello); repeated by general desire, and Beethoven's in G. (op. 96), for piano and violin. Herr Joachim led the quartet, in which he had the cooperation of Messrs. Hies, Webb and Piatti, and we need hardly say it was played to perfection. Its thorough enjoyment, however, was considerably marred by the late arrivals of a few who forget that the essentially English virtue—punctuality — is rigidly enforced at the Monday Populars, and as the concerts always finish before half-past ten, they have no excuse for their tardiness. If the D minor sonata of Weber is the least generally known to amateurs, it is unlikely to remain so long. The andante and the rondo finale drew forth the loudest plaudits, and Mr. Charles Halle was enthusiastically recalled at the end, — a wellearned tribute to his remarkably fine execution of a very difficult work. Signor Piatti created the same lively impression as before in Boccherini's quaint sonata. The last movement was unanimously encored. The " climax," in a strict sense, however, was the last sonatas for pianoforte and violin, which brought to a triumphant conclusion one of the best concerts of the year. There is a breadth and dignity, combined with the utmost intellectuality, tenderness and refinement, which emphatically stamp Herr Joachim a master, and the impression created by him and his admirable colleague, Mr. Halle, was not to be readily forgotten. Miss Poole again sang Mr. J. W. Davison's setting of Keats's words, "In a drear-nighted December," and Mr. Wallace's new song, "The lady's wish," in her best manner; Mr. Pennant's chaste and artistic method being favourably manifested in Schubert's "Praise of tears," and Mendelssohn's "Garland." More than a passing word of recognition is due to Mr. Benedict for his masterly performance of the pianoforte part in the violoncello sonata. At the next concert Dassek's Plus Ultra will be given by Miss Arabella Goddard, and Herr Joachim will play Mendelssohn's quartet in E flat (op. 44), Beethoven's in A minor (No. 15), and Mozart's Sonata in A major, with Miss Goddard.

Crystal Palace Concerts Herr Auguste Manns, the untiring

conductor and director of the Crystal Palace Saturday Concerts, is again in the field, upholding with his accustomed intelligence and spirit the cause of good music. Already three performances have been given, at which three grand symphonies and three dramatic overtures nobly represented the orchestra, while vocal and instrumental solos variously enriched the programmes. At the first the symphony was Beethoven's Pastoral; the overture, Schumann's Brides of Messina; at the second the symphony was Mendelssohn's in A minor (the Scotch Symphony); the overture, Cherubini's to the opera of Les Abencerrages; at the third the symphony was Mehul's in G minor; the overture, Rossini's to Le Siege de Corinth. The instrumental "soloist" at the first concert was M. Sainton, "le roi des vivlons de France, as he has been justly styled; at the second, a young, talented, and highly promising pianist — Miss Fanny H well (daughter of our oldest and most eminent professor of the double-bass). At the first concert the vocal music was intrusted to Mad. Sainton-Dolby — whose name would alone have sufficed to give eclat to the programme—and a somewhat timid though clever beginner, Miss Emma Charlicr; at the second to the accomplished Mile. Gnerabella, and the less experienced though improving Mile. Georgi.

The splendid weather on the day of the last concert — a " May day" in the brightest sense, enhanced the attractions of the programme, solid and various as they undoubtedly were, and made the now comfortable and commodious music room of the Crystal Palace seem the most agreeable resort imaginable. Tho acoustic conditions of this ingeniously contrived structure are at present unexceptionable; and only by those nearest to the public entrance, which, when the attendance is unusually large, as was the case on the present instance, is either partially choked up or presents an almost unintermittent stream of in-goers and outgoers, is any sort of inconvenience experienced. Elsewhere every note, whether from singer or from player, can be plainly and favourably distinguished. The orchestra, which has never ceased to make progress since Herr Manns undertook the direction, is now, for its numerical strength, equal to almost any body of instrumental executants that could be cited. Its performances are alike vigorous aud delicate—model-performances, to do them justice, in their way. With the spirit of research for which Herr Mann's is famous, ho had, for the occasion under notice, taken down from the shelves of his well-stored library a symphony probably unknown except to some half-dozen "music bookworms" in Great Britain; but not the less on that account a work of singular interest and merit. Of all the composers of whom France can boast the most earnest, industrious, and ambitious was Muhul, for whom Napoleon I. might have done so much, and did so little. Mehul's domain, it is true, was the opera, nevertheless, the French Gluck had aspirations of which the German Gluck was innocent. He longed to be a Mozart in the concert-room, just as he was a Gluck on the stage, and thus he composed symphonies for the orchestra and instrumental works of almost every kind. Of the six symphonies which he has left, his own compatriots know little or nothing. The one in G minor (conventionally pronounced the best, because the other five have never been essayed) is now and then heard of at the Gewandhaus concerts in Leipsic, rarely, if, indeed, ever, at those of the Conservatoite in Paris. Herr Manns, however,—a cosmopolite in art, though German by birth and education,

-is alive to the deserts of that which takes root under other climes. He has " revived " Mehul's symphony in G minor as he has "revived" many other undeservedly forgotten pieces; and it'is to be hoped that, emboldened by the real interest with which it was listened to, he may be induced, not only to repeat this particular work, but to try another, sooner or later, from the same pen.

The pianoforte solo—Weber's brilliant and superb Concert-stuck, always admired by musicians, and, when rendered in the proper spirit by a skilful performer, just as acceptable to the public at large—was received with the accustomed favour, the pianist, Miss Arabella Goddard (who stands high in the good graces of the Crystal Palace audience), being recalled at the conclusion. The performance of Miss Goddard was magnificent throughout, and accompaniments were given to perfection by the band. Miss Goddard's second piece—Thalberg's fantasia on the Serenade and Minuet from Don Giovanni—was equally successful, and in deference to the unanimous wish of the audience, the young and gifted pianist returned to the orchestra and played another fantasia (" Home, sweet Home ") by the same popular writer. The vocal music comprised "Vcdrai carino," and an air from Mr. Alfred Melon's Victorinc—in the first of which a young and seemingly nervous debutante (Mad. Gordon) produced a favourable impression, the last being at present beyond her means. Mr. Suchct Champion also sang a graceful romance by Herr Blumcnthnl, and the charming ballad from Mr. Mucfarren's Robin Hood, "My own my guiding star —both with applause. The dashing overture to Rossini's first "grand" French opera—the maturer version of his Maometto Secondo—wound up the concert (which afforded universal satisfaction) with brilliant effect.

At the concert to-day, Herr Joachim is to play Mendelssohn's concerto, and the first symphony (in C minor) of the same composer will be given.

The Wandbrino Minstrels.—The concert in aid of the Brompton Hospital took place, and moro than came up to what had been anticipated. The audience, one of the most brilliant ever assembled in St. James's Hall, was also one of the most indulgent—liberal of applause where the effort to please was manifest, and ultraliberal where, as more than once occurred, earnest ^endeavour was rewarded by success. "In short, the performances were enjoyed from first to last, and in frequent instances appreciated with such downright heartiness as must have greatly flattered the amateur singers and players who were induced to make a public exhibition of their talents on behalf of a very useful and commendable charity. When this concert was originally projected it was intended that the proceeds should be handed over to the fund for the relief of the families of those who got

fered in the Hartley Colliery—which may account for a conspicuous feature in the programme, viz.—an ode upon that lamentable calamity, written by Mr. Shirley Brooks, and set to music by the Hon. Seymour Egei ton. The poem is one of great literary power, full of bright fancy, and remarkable for the flow no less than the finish of its numbers; worthy, in short, of its distinguished author, who has more true poetry in him than the world has yet acknowledged. The music is divided into five parts, respectively fitted to each change of rhythm adopted by the poet,—a recitative, accompanied (Mr. Underdown); a part song for five voices (chorus); a recitative for tenor (Herr Rumpel)l a ballad for tenor; and a final chorus. The striking numbers are the five-part song ("When the laurel wreath is woven"), and —notwithstanding the close resemblance of one particular passage to a prominent theme iu Weber'g overture, The Ruler of the Spirits—the final chorus. The execution was, for the most part, highly creditable; and the audience not only encored the part-song, but unanimously recalled the composer at the termination of his work. The ode was preceded by Beethoven's overture to JEgmont; the first tenor air and a chorus ("Yet doth the Lord see it not") from Elijah (solo singer llcrr Kumpcly; and the Barcarole from Professor Sterndale Bennett's fourth pianoforte concerto—a beautiful composition, as all amateurs are aware, and played to perfection, as all amateurs will believe, when it is stated that Mad. Angelina Goetz was the player. The second part of the concert began with the overture to Guillaume Tell (encored) and ended with the Overture to Oberon—both orchestral masterpieces offering difficulties to players of long professional experience, and therefore doubly trying to amateurs, with whom the practice of music is an occasional means of relaxation. The Guillaume Tell overture, moreover, was immediately followed by the elaborate introduction to that magnificent opera, for chorus and solo voices (solos by Mr. Tom Hohler, Dr. Davies, Mr. Frank Skcy, and Mr. Underdown —two tenors and two basses), which together with the adagio from Mendelssohn's Symphony in A minor (" Scotch "), also introduced in the second part of the programme, gave further proofs that in some instances ambition slightly outweighed discretion. Horsley's glee "By Celia's arbour )" Mr. J. L. Halton's arrangement of " My love is like the red red rose," as a part-song for chorus (extremely well given); a cleverly-written solo for cornet-a-pistons (with accompaniments for the orchestra), the composition of Mr. Frederick Clay, performed by Mr. A. B. M it ford; and two vocal solos — an aria from Donizetti's Dom Sebastiano and Gordigiani's "Un Ricordo " — both sung with remarkable taste, the first (encored) by Mr. Tom Hohler, the last (and, though not encored, the best) by a gentleman whose name we could not learn, * completed the programme. The orchestra, consisting of upwards of seventy performers (thirty from the ranks of the "Wandering Minstrels ") was conducted, with the nerve and decision of an old practitioner, by the Hon. Seymour Egerton. The chorus numbered something short of 200, and in each department — soprano, alto, tenor, and bass — voices of rare strength and freshness were detected. Singers and players were exclusively amateurs.

————- ~ «

Dramatic Equestrian And Musical Association.—The Anniversary festival of this association was held at Willis's Rooms. At the first blush it might appear strange that an occasion to the rest of the world bearing somewhat of a solemn and penitential character should be selected; but a moment's reflection will show that ordinary rules do not apply to the theatrical profession. In this respect resembling the gravest of callings, they are busiest when mankind at large is making holyday, and it is a fact entitled to be set against the accusations charged upon the votaries of the stage, that of their limited vacation they are willing to devote one night to the sacred cause of charity. Had the celebration taken place one evening earlier, it would have fallen on the concluding night of the Carnival, with the mysterious rites of which the Germans, under the name of Faschtngs, associate the origin of their dramatic literature. Be the merits of the question what they may, one fact is beyond dispute, that the members of the profession mustered strongly in support of an association which seeks to provide a sick fund for the relief of dramatic, equestrian, and musical performers. Conventional usage being laid aside, ladies were invited to join in the proceedings, and Mrs. Stirling and Miss Amy Sedgwick occupied seats to the right and left of the chairman, Sir Charles Taylor. The following members of the corps dramatique were likewise among those present:—Miss Fanny Stirling, Miss Rosina Wright, Miss Charlotte Saunders, Miss Sarah Booth, Miss Clara Fisher. Mr. B. Webster, Mr. P. Bedford and Mrs. Bedford, Mr. and Mrs. Toole, Mr. and Mrs. Swanborough, Miss Button, &c An excellent dinner was provided, at

* Mr. Underdown.


the conclusion of which, grace having been said and the usual loyal toasts given, the chairman, in proposing the toast of the evening, said that of all the charities to be found in this wonderful city of London there was none in which the money was applied more directly to the object in view than that which he had the honour to advocate. It was especially deserving of support, because those who were relieved, instead of becoming completely broken up, were often enabled by its means to work on prosperously to the end of their days. During the five years over which the accounts extended, it had relieved 2,575 days of sickness, it had met 155 cases of distress, and had paid for 256 journeys to places where employment had been provided for necessitous applicants. Its beneficial operation extended to all, whether it were the gentleman who played Hamlet or Macbeth, the humbler performer who went on with a banner at M. a night, or the carpenter who sustained an injury from a "vampire trap." For a payment of 12s. 6d. a year, or 3d. a week, a sum of 5s. weekly was insured in case of sickness, or 10/. to cover funeral expenses. Through the kind generosity of patrons they were enabled to give 5s. where a benefit society could, at the most, prudently and properly offer 2s. Mr. B. Webster, whose name had been coup led with the toast, in responding, assured the company that he felt an interest in the welfare of the association deeper than many persons could possibly imagine. He had known the want of a bit of bread; he had wandered by the seashore, glad to get the smallest fragment the waters might cast up; he had suffered and worked on industriously and honourably in a career which had at length led him up1 to his present position. Mr. Webster warmly eulogized the association, and concluded by proposing "The Health of the Secretary, Mr. Anson." In the course of his remarks Mr. Anson stated, that owing to the prevalence of sickness, the cases relieved during the last six months were almost as numerous as in the whole of any previous year. Assistance had been afforded in 31 cases, and 72 journeys had been paid for. Mr. Webster proposed the chairman's health, who gave in return that of Mr. Roberts, coupling his name with the toast of "The Fine Arts." Mr. Thomas Taylor then introduced a toast which he said was always welcome, but was that night attended with peculiar interest — " The Ladies." Mrs. Stirling, on behalf of her professional sisters, thanked the Dramatic Association for the change in the order of their dining, and in a short speech, delivered with feeling and great ease of manner, touched on the evils from which the association was calculated to rescue poor actresses. The company shortly afterwards adjourned to the bnll-room, where the festivities were prolonged to an advanced hour. Under the leadership of Mr. Genge, several well-known musical artists contributed to the success of the festival; and Mr. Toole, as usual, voluntered his services as toastmaster. Upwards of 170/. was collected in the course of the evening.

Drury Lane Theatre. — On Thursday night Mr. Charles Kean took his benefit, and played the character of Othello. Much curiosity was excited on the occasion, for thirteen years have elapsed since he last sustained the part in London, and to a large portion of the present generation of playgoers his interpretation was completely a novelty. His Othello also derives a sort of historical interest from the circumstance that it is based in a great measure on his father's conception, and therefore preserves a tradition which would otherwise be entirely lost for every one under the age of forty. We reserve for another opportunity a detailed notice of his peculiarities, and now simply record that Mr. Kean played with all the determination of an artist who has resolved to produce an extraordinary effect; that in the third act he astonished his audience by his vigour and his pathos; and that, altogether, he conveyed an impression that the greatness of another period was revived with singular freshness. After the fall of the curtain he was twice called, with an enthusiasm that could not be mistaken.

Hatharket Theatre.— A charming little domestic drama, pointed with a very wholesome moral, has been written by Mr. Westland Marston, and produced at the Haymarkct, with the title of The Wife's Portrait. Though it is in two acts and involves several changes of scene, it may fairly be ranked among those slight pieces in which the stage becomes an animated cabinet picture: but the sentiments it embodies are so true, the dialogue is so nicely written, and the characters, without being exaggerated, are sketched with so distinct an outline, that the mind of a poet and an artist is discernible throughout. David Lindsay (Mr. Howe), described in the bill as a "classical tutor and a man of letters," is one of those perverse gentlemen who insist on writing epics that no bookseller will publish, and classical tragedies that no manager will produce. He consoles himself for the neglect with which he is treated by the trite reflection that the slights of contemporaries will be compensated by the plaudits of posterity; but his wife Clara (Mrs. Charles Young), who has been brought up in greater luxury than himself, and finds that their income scarcely suffices to cover the weekly bills, cannot

help repining at what she deems a waste of available talent. Under these circumstances, a 'mutual estrangement arises; the lady regarding the gentleman as a selfish being, who, to gratify his own vanity, neglects the interests which should be nearest to his heart; while the gentleman looks upon the lady as a prosaic creature, wholly unable to appreciate his sublime aspirations. Indeed, so completely does he act on this conviction that he scarcely deigns to communicate any of his plans to Clara, but generally confines his discourse to his sister, Miss Lindsay (Mrs. Wilkins), whose overflowing good nature alone prevents her, from becoming an object of jealousy. Even the thought of parting is entertained, when a letter arrives from Clara's wealthy relatives in Scotland, who offer to undertake the care of her little girl. The offer is gladly accepted, and David, who has the charge of taking the child to the north, sets off at once, still betraying the selfish ideality of his nature, by evincing the greatest anxiety about a worthies* tragedy, while he will scarcely bid his wife a respectable good-bye. In the first act, though the wife is unquestionably in the right, her sound views are expressed with such repelling sulkiness that, in spite of one's better convictions, one is inclined to sympathize with the husband. But in the second act the intrinsically affectionate nature of Clara is fully exhibited. David's absence has awakened all her better feelings; she is anxious to make everything comfortable against his return, and happy in the anticipated pleasure of communicating to him the good news that a London manager will produce the tragedy, thanks to the cuts that have been made, and the "effects " t*at have been brought in by David's very practical friend Dexter (Mr. W. Farren). However, the proper hour of return passes away, no David is to be seen; the pleasures of anxiety are exchanged for its pains, which in turn give way to despair on the arrival of an evening paper with the telegraphic information that the vessel in which David was to perform part of his journey has been destroyed by collision with another of larger size, and that his name is not on the list of the saved. The tortures endured by Clara nearly turn her brain, but they do not last long. David not only comes home safe, but his heart has been softened by his visit to Scotland, where he has been reminded how Clara left her wealthy relatives to follow his uncertain fortunes, and whence he brings a portrait representing her in early youth. The loving couple, convinced that on both sides the heart is all right, have now only to rush into each other's arms and vow, he to be more reasonable, she to be less cross, for the future. In bringing this simple tale into dramatic shape, Mr. Marston has not confined the action to the place of Lindsay's residence in London, but, with a singular boldness, has introduced the scene showing him with his wife's relatives in Scotland, and when he departs we behold all their terrors as they witness, from their balcony, the collision of the two steamers. At the present day, when, under French influence, we almost lay it down as a principle that scenes should never change, save from absolute necessity, within the limits of a single act, this sudden leap from Scotland to London, in the second act of a short piece, seems at first sight strangely inartificial, especially as the moral idea could be completely carried out within the precincts of London lodgings. But the use for which Mr. Marston employs this singularity more than answers any technical objection that may be raised against it. By becoming almost spectators of the collision, without seeing the rescue of David, the audience share the harrowing anxieties of Clara to an extent which would not have been attained had the telegram been their only source of information. Nevertheless, we would advise the novice not to take for a precedent the violent expedient so skilfully employed by Mr. Marston. Though this is an age of railways, our dramatic locomotion is less rapid than in the days of Elizabeth. The character of Clara Lindsay is admirably played by Mrs. Charles Young, whose overwhelming agony in the second act comes into wondrous contrast with the chilly sulkiness of the first. It is a real, earnest abandonment to. the violent emotion of the moment. David Lindsay is a less thankful personage. His sufferings are rather of the chronic than the acute kind, and Mr. Howe is not to be blamed if he cannot makeaneglected genius the cause of a strong excitement. Most amusing, on the other hand, is Mr. Dexter, the practical literary man, who is everything that David is not, and, while he has not a tithe of his friend's genius, gains an ample income by accommodating himself to the taste of the times. At the same time, his head is so little turned by prosperity that he pays homage to the superior genius of his less practical friend, and is always ready to help him with his counsel, even at the risk of giving offence. We know not whether most to commend—the delicacy and the geniality with which this part is drawn by Mr. Marston, or the hearty spirit with which it is played by Mr. W. Farren. Mrs. Wilkins is good humour itself as Miss Lindsay, though towards the end she plunges but timidly into the abyss of grief. The "mise en seine" of this piece is in every respect complete, and the sudden change of scene to Scotland allows the introduction of a very beautiful view of the banks of the Clyde.






Bertha had a happy heart,

Always careless, always free; Cupid misVd her with his dart,

As he hid behind the tree. And she, laughing at his art,

Clapped her little hands with glee. Bertha then was very young.

Always laughing, always gay— Joyous were the songs she sung,

As she plucked the flowers of May— Nor could ardent lover's tongue

Steal her little heart away.

Bertha, she is older now.

Always thoughtful, always sad— Shades of sorrow on her brow.

That her girlhood never had. Could a lover tell you how,

Love drove little Bertha mad? Bertha laugheth now no more,

Always quiet, always wild; All forgot her songs of yore.

That her rosy hours beguiled— Is that Allan at the door?

Surely little Bertha smiled.

London: DUNCAN DAVIDSON & CO., 244 Regent Street, W. I NAVIGANTI (The Mariners).


"VIEW TRIO, for Soprano, Tenor, and Bass, Price 4s.

JLII (With English and Italian Words.)

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

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

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Just Published, price 3s.

Poetry by CLARIBEL.

"Miss Stabbach sunt? "The Morning Ride " with great telat, it being admirably salted to her voice. The song itself possesses great merit. In its composition it is pleasing, lively, in the idea fresh. A continual flow of melody running throughout, and the delicacy with which it is wrought, mark this song as a favourite. The words by Claribel, which are sparkling, light and gay, have been wedded to music of endearing sweetness.MDorset Chronicle.

London: Duncan Davison & Co., 244 Regent Street, W.

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

i few passages which cannot fail to strike every reader.—

r " The chief value of this excellent treatise on the art and practice of singing is in the elaborate chapter upon the formation and cultivation of the voice, which precedes the practical exercises. Signor Ferrari alleges that "every one who can speak may slug," and he discusses this fact not only with great Intelligence but with excellent common sense. As a teacher of long and varied experience he speaks with authority, and the rules he lays down for the development of the vocal organs may be consulted with advantage by all students of the art of singing. His book, in short, labours to overcome the two leading difficulties which beset the scholar, viz., the production of the natural or real tone of the voice, and the proper management of the breath."—

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






Grand Air. Sung by Mile. Jenny Baub

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

Mile. Jenny Baub


by Miss Emma Heywood

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

Miss Emma Heywood


Sung by Herr Reichardt


Sung by Herr Reichardt


by Herr Formes


Sung by Herr Formes

(Handsomely Illustrated in Colours.)

"Fontainbleau Quadrille," by Carl Strauss

"La Belle Blanche Waltze," ditto

In the Press.

Brinley Richards' Fantasia, or, "Once too Often."
Emile Berger's Fantasia, or, "Once too Often."

"Mr. Glover's operetta is a decided, and, what is better, a legitimate, 'hit.' The songs before us have already attained a well-merited popularity. 1 The monks were jollyboys'is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Formes. * The love you've slighted still is true' (for Mile. Jenny Baur) has a melody of charming freshness. Not less a model ballad in us way is 1 A young and artless maiden ' (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent ana genuine as they are, is 1 Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils. We shall look with real interest for the remaining pieces of M Once too often." —Mxuical World.

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

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