appealing to eye or ear; whilst by the latter process it is fully and vividly imparted by the "representation" before others of its external incitement of the natural influence or circumstances that called it into action, and thus by the re-creating in them of a similar feeling. The principle of expression through which that influence understood by the term "Eloquence," works all its wonderful impressions, does not involve either of these processes, but is a separate and distinct principle from any which they include of a nature far grander and more etherial, and one eminently new, characteristic, and original. The external conditions attending this principle (the influences eliciting it, the truths, circumstances, or occurrences, the communication of which it accompanies) are those of a lofty and comprehensive character. Its inward conditions, the emotions which surround it, are sympathetically broad and exalted, and of a nature particularly distinctive and original, such in fact as would be naturally calculated to be aroused by the above order of influences, which, appealing powerfully to the imagination, demanding an important exertion of that faculty for being duly realised and appreciated, must thus necessarily produce a character of sentiment modified by its conceiver's special idiosyncrasy, and tinged by the peculiar halo of his individual imagination. The general function of this principle is to express emotions and ideas of the above order, ond arising out of the above circumstances, that is, of a comprehensive and original character, and proceeding from the contemplation of high and striking truths. The visible portion of the process through which this expression is consummated, is apparent in the action of that property which the effect of methodical and calculated "accentuation" possesses, of directly kindling the imagination of those within its influence; through the instrumentality of this property is thus furnished one very important condition (imaginative susceptibility) requisite for the due reception of that order of truth which invests the above expression. The fact that to attend and further the communication of truths of a broad and elevated character, and to express emotions such as influences of this nature are calculated to create, is the especial function of the attribute of human speech termed "Eloquence," is not only arrived at through examining the particular properties this principle contains-by testing its constitution individually but considerations such as the following lead to such a conclusion of necessity. Considering only the fact of the existence of emotions and ideas like the above, solely original and peculiar to their possessor, it is evident that being of this character they cannot be imparted to another, by an appeal to his experience, and thus they are not embraced in the resources of language like those common emotions which symbolised by words admit of general suggestion. It is also evident that emotions and ideas of this individual character cannot be imparted by the "representation" en masse of their correlative external influence in moral or physical nature (in physical nature this influence may be a scene, occurrence, action or circumstance-in moral nature it may be an edifice of thought, a series of considerations) before the regarder, because influences of the broad and lofty phase of those in question colossal truths prevailing in the furthermost circle of Nature, such as science wondering suggests, comprehensive truths visible only through a subtle woof of thought, high and etherial truths flashing momentarily into the carefully prepared sanctuary of the mind because influences of this character depend for the exact perception of their shape too much upon the finer mental faculties, and for full realization upon the deeper moral sympathies, to be wholly compassable, for "representation," by the stereotyped materials of human speech. There is existing then, amidst the general inspiration of language, and behind the palpable burthen of speech, a residue of latent feeling, of uncommunicated idea, of unexpressed emotion, which those principles forming the physical constitution of language "suggestion" and "representation" are not fine enough to take up. There are truths unfolded in the mind from such a wide expanse of thought that language cannot embrace, beheld through such delicate hues of imagination that language cannot reproduce, visible in such a subtle scries of considerations as language cannot be applied to imprint. There is required consequently incorporated in human speech a further and finer expressional resource than its material constitution supplies. There is needed some medium for communication, of a more finely pliable and inherently expressive character, than that, which dwells in the influence of words, -to impart the finer shapes of thought, and the more delicate shades of feeling. Now as, wherever we find this exigency existing in the circumstances of human intercommunication, wherever in these circumstances we find present thought and sentiment of the order we have been describing, we always simultaneously perceive exhibited the phenomenon of "Eloquence" (and not only perceive it as generally and regularly attending such conditions, but, also exemplified in that particular degree of conspicuity and elaborateness corresponding to the force of the exigency eliciting it)-as this is the case, it is impossible to avoid the inference that in this phenomenon of "Eloquence," in this spiritual and subtle effect emanating from methodical accentuation," from the aesthetical variation of "Tone," we behold the new and necessary principle of expression whose deep and mystic office it is, to impart direct and en rapport all the finer mental and emotional phenomena of the breast. In general illustration of all these remarks, and of the main principle that winds through them-the principle of a marked, deep, and real connection between the phenomena of original emotion, comprehensive truth in the breast, and striking design, method, and aesthetic effect wrought in the pure expressional form of the language that would utter this inward condition-it will be found glancing over the whole area of language, that wherever in the course of human utterance any truth, circumstance, or effect is being described of a lofty or comprehensive character, the nature of which is to appeal to the imagination-in fact, which cannot be realised or adequately conceived without an important exertion of that faculty; wherever a pressure of emotion is exuding into expression, such as would naturally accompany the above order of influence, emotion partaking of a sympathetically broad and elevated nature; exceptional and original emotion conceived with the mental perception and moral sympathy acting in the imaginative sphere of survey; that wherever in the course of human utterance the burthen is of this character,—there is always regularly and inevitably exemplified an appropriately conspicuous and aesthetic effect wrought in the abstract "Tone" and purely “Phraseological outline" enclosing that utterance. And this principle will be found to prevail from the communication in the language of common and ordinary life when occurs the mention of some higher truth appealing as all high truths do and must to the "imagination," and where consequently the "accents" become more emphatic, the "pauses" more fraught with effect, where, in short, the Eloquence" increases past the speech of the orator, where the main burthen consists, in allusion to broad and elevated ideas, such as ideas of Patriotism, Religion, or Philanthropy -elevated circumstances, such as those attending a generally improved social condition, or a future state of existence-and in the expression of those vivid and original emotions that this character of idea would involve; all this order of communicational matter demanding a high exertion of the imaginative faculty, and for this reason, as well as on account of its general nature, is duly enrolled in a conspicuous exemplification of the principle which dwells in the effect of modulated "Tone" and varied "Accentuation," to the expression of the poet, where the character of the Truths alluded to and the Ideas defined becomes still more comprehensive, where the expression rises still higher in spirituality; where the emotions evolved are still more essentially original, unique, and peculiar to their conceiver, and where, thus in continued exemplification of the general principle here endeavoured to be impressed the effects in the pure form of the utterance of Tone and Phrase manifest themselves in so conspicuous a manner as to involve a regular system of accentuated impression-"Rhythm," Phraseological effect-"Metrical design." (To be continued.) THE MORNING CHRONICLE.-On Thursday expired, in its 92d year, the Morning Chronicle. The melancholy intelligence was conveyed to the public in a placard, affixed to the closed shutters of the office, to the effect "that the publication was unavoidably deferred until Monday next." The Morning Chronicle was the oldest surviving member of the metropolitan press, and has probably experienced greater vicissi tudes of fortune than any of its contemporaries. For many years no paper stood higher in public estimation. Its history would be almost a history of English journalism in its 'palmiest days, and in its columns may be found contributions from nearly all the most brilliant political writers on the Liberal side for the last two generations. In its origin and even up to late years a Whig organ, its triumphs culminated with those of its patrons; it has shared their declining prosperity, and has probably only anticipated their final dissolution as a party by a brief interval. In fact, as a Whig organ, the Morning Chronicle had for some time past ceased to exist. Within the last seven or eight years it has touched every point of the political compass, its opinions ranging from the extreme of Toryism to the depths of Radicalism, its inspirations at one period having been notoriously derived from the Tuileries. -(Morning Herald.) MUSICAL SOCIETY OF LONDON. THE fourth season began (on Wednesday night week) with a concert of no common attraction. As the fellows and associates of this institution - the largest, in a numerical sense, in Europe- would alone pretty nearly suffice to fill St. James's Hall, it is almost superfluous to say that there was a crowded attendance. Of recent years no performances have created so great a degree of interest on the part of the public as those of the Musical Society of London; and were it expedient to gratify all who apply for admission, it would be requisite to erect a new building for the purpose, inasmuch as the metropolis does not contain one sufficiently capacious. It is notorious that wherever there is difficulty of access the privilege is doubly estimated; and excellent as are the entertainments furnished by the new society-which, by spirited and judicious management, has in so short a time risen to the highest position-it is doubtful whether the desire to attend them would be so urgent but for the obstacles that inevitably lie in the way. Hitherto the Musical Society of London has chiefly obtained notoriety through its admirable concerts and its cheerful "conversazioni; " but that it has other and perhaps more important objects in contemplation is very generally understood; and on these grounds it may reasonably aspire to the rank of a solid, useful, and permanent institution. It cannot, and ought not to remain a mere concert-giving society, talking loudly from March to June and to all intents and purposes silent for the rest of the year; its acknowledged mission is far wider, and the musical world will look forward with anxiety to its complete and adequate fulfilment. Our present business, however, is not so much with the "constitution" as with the performance on Wednesday se'ennight, which in most respects afforded unbounded satisfaction, and was calculated to maintain the reputation of the society at its height. The programme was as follows: Mozart. Joachim, Macfarren. Beethoven. Mendelssohn. Handel. Berlioz. Overture (Le Carnaval Romain) The band, 86 in number, consisting without exception, of professors of recognized ability, and directed by Mr. Alfred Mellon, is at the present moment (some valuable reinforcements in the stringed department having been made since last year) equal to any body of instrumental players in the world. Their obedience to the "baton" is like machinery; and, as happily the gentleman who holds it is anything rather than a mere mechanical conductor, his intelligence and sensibility being equal to his firmness, the result in the majority of instances is a combination of technical precision with energetic and appropriate expression. The superb overture to Die Zauberflöte, in which Mozart may be said to have triumphantly thrown down the gauntlet to all who might come after him, was a striking example in point. A more auspicious inauguration of a new season could not have been wished. The fortune of the concert, indeed, seemed to be insured by this brilliant coup d'essai. The first of the three overtures, entitled Leonora, and of the four which the scrupulous Beethoven composed for his opera of Fidelio, was no less effectively rendered; and, as this demands a nicer observance of details than the freer and less fantastic Zauberflöte, it exhibited fresh qualities to be commended in the band. Of all Beethoven's orchestral works this last is perhaps the least generally familiar; for, although written as early as 1805, and played at the first performance of Fidelio (in Vienna), it was not published until after the death of the composer, and has since then been hopelessly eclipsed by the superlative No. 3 (the Leonora best known to the world), with which Beethoven himself-if not those critics and advisers who induced him to write the overture in E (No. 4), now universally accepted as the genuine overture to Fidelio-was at last entirely pleased. It has been so rarely performed in England that its introduction on this occasion was invested with all the interest belonging to a "novelty." Nevertheless, the great orchestral display was Mendelssohn's Symphony in A major, which, we have now the authority of his own letters from Rome and Naples to prove, was really suggested, planned and for the most part completed in Italy, where the overture called The Hebrides, the First Walpurgis Night, &c. (about the same period), were composed, and the whole design of the still greater symphony in A minor was conceived. The Italian Symphony, then (for that such is its appropriate title can no longer be disputed), was on Wednesday night played to absolute perfection; and so unanimous and prolonged were the plaudits at the end of the Andante and Saltarello (each in its way incomparable) that had not Mr. Alfred Mellon with excellent discretion refrained from compliance, both movements might have been repeated without a dissentient voice being raised. It is to be hoped that this in direct protest against the absurd and noxious system of " encores may be persistently adhered to at the concerts of the Musical Society of London, which stands in a sufficiently high position to set an example likely to be followed in other places. The soloist-the "virtuoso," as the phrase is-of the evening was Herr Joachim, who bids fair to become the "lion" of the musical season of 1862. This time the accomplished violinist came forward in the dual capacity of composer and performer. The "Hungarian concerto" (in D minor) has only once before been heard in England-in 1859, at the On that occasion, though Herr Joachim himPhilharmonic concerts. self "held the fiddle," it was little understood, and at best achieved what is ordinarily termed a succès d'estime. On Wednesday night it met with a very different reception, and the rapturous applause that followed one of the most extraordinary performances in all probability ever listened to was as much a tribute to the merits of the work as to the brilliant ability of the executant. The allegro-an extremely long movement, elaborately designed and ambitiously wrought out into the recondite beauties of which only practised musicians would be likely to enter without hesitation, must be heard again to be thoroughly appreciated; but the romance and the finale alla Zingara at once made themselves clear to the intelligence of all present, the refined and exquisite melody of the first, the strongly marked character and never flagging vigour of the last, carrying with them, from end to end, a charm that was fairly irresistible. The concerto is aptly entitled Concerto in the Hungarian style, inasmuch as it is everywhere instinct with the sentiment of Hungarian melody, which the composer has happily caught, and idealised in a genuine spirit of poetry. While every phrase is as new as the plan and its development are original, the feeling of Hungarian tune-a conspicuous element of which is that species of wild melancholy which poets and minstrels time out of mind have attributed to the popular songs and melodies of oppressed nations-is kept uppermost from beginning to end with remarkable felicity. In short, the whole piece is as interesting as it is masterly, and as genial as it is both. Herr Joachim's execution of his own music stands in no need of laudatory epithets; but a word of unqualified praise must in justice be awarded to the members of the orchestra, and Mr. Aifred Mellon, their conductor, for the uniformly correct and admirable manner in which they accompanied a concerto of such unparalleled difficulty. The ultimate popularity of a work like this is a problem only to be solved by an uninterrupted series of "Joachims;" for any average player to attempt it would be simply ridiculous. Mozart's fine aria, "Dolce corde amate" (the accompaniments scored for the orchestra with musician-like judgment by Mr. Henry Smart), was admirably sung by Mad. Sainton-Dolby; and Mad. Guerrabella (not for the first time, as the patrons of the Royal English Opera may remember) won "golden opinions" in Maid Marian's scena (“Hail, happy morn "), from Mr. Macfarren's Robin Hood, a prominent feature in which was the performance of the violoncello "obbligato, by Mr. George Collins. Handel's chamber duet (also scored, and with equal propriety, by Mr. Henry Smart) was sadly out of place between the "Carnival" that forms the climax to Mendelssohn's symphony and the "Carnival" of M. Berlioz (the entr' acte of his opera of Benvenuto Cellini)-which last, by the way, would seem to have been inserted in the programme with a view of showing how much more successfully a German could musically illustrate the exciting incidents of an Italian festival than a Frenchman. Mendelssohn and Berlioz (in 1830-31) were toaudience had an opportunity of testing the impressions derived from it gether at Rome during the Carnival season, and on this occasion the by each composer, and their diverse methods of conveying them. At the next concert we are promised, among other things, the Chora Symphony of Beethoven, and a duet for two pianofortes (Mozart) perormed by MM. Charles Hallé and Stephen Heller. SACRED HARMONIC SOCIETY. The very fine performance of Israel in Egypt, which took place on Friday sc'ennight in Exeter Hall was a foretaste of what the lovers of Handel's music are entitled to expect at the forthcoming Handel Festival. The extraordinary improvement observable in the choruses must in some measure be attributed to those careful "practices" of the so-styled "London contingent" which, since 1847, have been held at various intervals. But, whatever the cause, the progress achieved is remarkable, and the more to be rejoiced at when viewed in connection with the grandest of choral works. How, at any time, it could have been found necessary to make omissions, and even interpolations, in so faultless a masterpiece as Israel in Egypt, it is difficult to explain. Happily, in the present day, nothing of the sort would be tolerated; and not only have the additions and alterations of recent date been scouted as acts of Vandalism, but even those authorised by Handel himself, to conciliate the taste of the period, and those which, after the composer's death, were instituted by Smith, his amanuensis, on the occasion of the first revival of Israel, have been equally rejected as untenable. It has taken considerably more than a century (since 1739) to make the greatest oratorio of the greatest composer of oratorios generally acceptable in its original shape; and it is probable that nothing but the successive failures of more or less modified versions would have led to this much-desired result. 66 Israel, the whole Israel, and nothing but Israel," is now the unanimous sentiment; and thus, at length, we have a rival to the Messiah, in a work which, regarded as a production of consummate art, is perhaps superior to the Messiah, and at any rate only inferior inasmuch as the Messiah was inspired by the most dignified and sublime of all possible subjects. Israel in Egypt has from the first been a pet oratorio with the Sacred Harmonic Society; and it affords us sincere pleasure to note the gradual advance which, season after season, is effected by the members in the execution of its varied and astonishing choruses. The improve ment of late years has been, not so much "slow and sure," as quick and sure. Obstacle after obstacle has vanished, until the most recondite and ineffable beauties of the music became clearer and clearer to ordinary apprehensions. At present the stumbling-blocks in the way of a thoroughly efficient choral performance are "few and far between." "They loathed to drink of the river," "He spake the word," "He sent a thick darkness," "He smote all the first-born," "And with the blast of Thy nostrils," &c., have, one by one, been vanquished, and their difficulties for the most part smoothed away. It was a treat at the last performance to hear these elaborate choruses going off, with very rare exceptions, as smoothly and at the same time as vigorously as "He gave them hailstones," "The horse and his rider," and other familiar pieces. The intonation of the singers in that formerly most perplexing of choral recitatives, "He sent a thick darkness," exhibited scarcely a single instance of unsteadiness or hesitation; and when the critical unison, "A darkness which might be felt," attained its impressive climax, the choir was found exactly in the same "pitch" as the organ and orchestra,-an achievement which in the good old times would literally have been cried up as "a miracle." "The people shall hear," the longest and most intricate chorus in the oratorio, the most remarkable for its modulations and progressions of harmony (which seem to anticipate almost all the inventions of more recent art), has still to be worked up to the desired ideal, more particularly in the episode "Shall melt away," introduced by the solemn phrase, “All the inhabitants of Canaan," and in what may be styled the coda, beginning at the wonderfully developed passage "Till thy people pass over, O Lord." But where so much has been accomplished there can be no such thing as "stopping short." "The people shall hear," before long, or we are greatly deceived, will fare just as well, and impress just as deeply as any of its less accommodating companions. It should be the ambition of the members of the choir, just as it doubtless is the ambition of their conductor, Mr. Costa, to come forth as triumphantly from this ordeal as from the rest—and if for no other reason than because the chorus in question is the most difficult, as it is assuredly the finest, in the entire work. We believe that on no occasion have the choral parts of Israel in Egypt been more thoroughly appreciated or more keenly enjoyed than last night. "He gave them hailstones" was, as a matter of course, enthusiastically re-demanded (what audience, indeed, could resist it ?), and repeated, as from time immemorial; but still more gratifying to note was the profound attention paid to choruses of graver import and less ad captandum character. Without mentioning such awe-inspiring passages as "The waters overwhelmed them," Thy right hand, O Lord," &c., to which no one alive to musical impressions could be insensible, several choruses hitherto overlooked by the majority, as though intended for nothing better or more important than what the French expressively term rem. plissage (but which, in reality, like everything else in the oratorio, have a definite purpose), were not merely listened to with attention, but religiously enjoyed; and among these may be singled out, as remarkable examples, "And the people feared the Lord, "Thou sentest forth Thy wrath," and "The depths have covered them.” The solo vocal parts were adequately sustained. Miss Parepa was admirable in the principal soprano music, and-to say nothing of the air "Thou didst blow" (with its quaint and curious "ground-bass "), or of the duet "The Lord is my strength" (in which she was most efficiently supported by that young and very rising singer, Miss Banks)-delivered the recitatives of Miriam with really splendid energy. The two contralto airs--"Their land brought forth frogs" and "Thou shall bring them in"-were sung by Mad. Sainton-Dolby- to whom the music of Handel, in all its many phases, seems a natural language—in a manner wholly beyond reproach; Signor Belletti and Mr. Lewis Thomas declaimed the vigorous duet, "The Lord is a man of war, with exemplary energy (obtaining the "encore" never withheld from this extremely effective piece); and Mr. Montem Smith gave the whole of the tenor music-including the trying air, "The enemy said, 'I will pursue - SO carefully and with such artistic correctness as to win unreserved commendation. Handel's Solomon is announced for the next concert (April 4). Some of the choruses in this oratorio, to be performed on the second day of the Handel Festival, were rehearsed at the practice of the 1,600 members of the "Handel Festival Choir," in Exeter Hall, yesterday evening. MONDAY POPULAR CONCERTS. THE genius of Herr Joachim and Miss Arabella Goddard, and a programme of works of the highest character, induced a large crowd of amateurs to St. James's Hall, on Monday last, despite the unfavourable weather. Among the five quartets (so called "posthumous") which, with five pianoforte sonatas and two for piano and violoncello, make up the list of the chief examples of Beethoven's latter style in chamber music, the one in A minor, Op. 130 is perhaps the most wonderful. The genius of the composer is evident in them all; but of the wildness and pathos, the abandon and fantasy, the prodigious power "to move, to stir, to shake the soul," we find the most memorable instances in the A minor. The slow movement, molto adagio, could have been imagined by none but the greatest "tone poet" of all times. The melody and harmony of the opening passage, in which the "modo lidico" is vigorously observed, show how entirely the severest forms and narrowest limits are under the command of genius, amenable and indeed accessory to the expression of impassioned thought and original creation. The signature of the movement is "canzone di ringraziamento in modo lidico," to which Beethoven added on the original manuscript sent to Prince Nicholas Galitzin (to whom he dedicated the quartet), offerta a la divinità da un guerito. This expression, which has puzzled many who can see no application in it, was doubtless an allusion to the severe illness from which Beethoven was recovering at the time, and need not trouble investigators, some of whom have been known to search for passages which spurious criticism may assert to be characteristic of convalescence. The Assai sostenuto, with which the quartet opens, and its accompanying allegro are among Beethoven's grandest and most forcible productions, and the triad of passages forming the last movement contain nothing but the most pathetic and spirit-stirring music. The other quartet was the third of Mendelssohn's Op. 44, in E flat, an acknowledged masterpiece. Possibly the artistic fervour and inspiration of Mendelssohn have never been more appreciated by amateurs than in the three quartets forming his forty-fourth work. The scherzo is one of the most ingenious and fanciful examples of that captivating form of composition. The adagio and molto allegro, which latter concludes the quartet, are eminently interesting for poetry of idea and intensity of expression, but the noblest movement of all is the first. To these two great quartets every justice was done by Herren Joachim and Ries, Mr. Webb and Sig. Piatti. The German violinist unites in himself the highest qualities of an artist. Such breadth of tone and solidity of manner we never heard; yet, while his playing is most correct and scholarly, his refinement of expression is such as the wildest rhapsodical player never attained to. By his conception of Beethoven's ideas difficulties seem to vanish to limbo. In Sig. Piatti he had the best coadjutor Europe has produced; and the playing of Messrs. Ries and Webb is always correct and excellent in every way. Mendelssohn's scherzo was encored. The concert ended with Mozart's sonata in A_(the_longest and best in that key), for pianoforte and violin, in which Herr Joachim showed another phase of his all-sided genius. The andante, a beautiful song without words, was played to admiration by Herr Joachim and Miss Arabella Goddard. The lady (of whom we English are justly proud) is indeed worthy of as high rank as the gentleman, so many seeming impossibilities have been accomplished by her, and so many impenetrable obscurities have been rendered transparent. The "Plus Ultra" of Dussek was the pianoforte solo of the evening. It is a great work, as we have often said, containing a world of beauty and originality, and written throughout with a masterly grasp of all the most brilliant resources of the instrument. It was played by Miss Goddard with the unerring accuracy which seems to be her monopoly, and with poetical feeling and general spontaneity of a thoroughly genial and sympathetic interpreter. The vocal music was sung by Miss Martin and Mr. Weiss. The lady is improving fast. She sang the "Andenken" of Beethoven and "Zuleika," Mendelssohn. The best of our English basses sang the "Star of the valley," an elegant song, by Mr. Henry Smart, and Schubert's ever welcome "Wanderer," both admirably. EIGHTIETH CONCERT, on MONDAY EVENING, WILL the great Season of the Exhibition be allowed to March 24th, 1862. of HERR JOACHIM. PROGRAMME. PART 1.-Quintet, in G minor, for two Violins, two Violas and Violoncello, MM. JOACHIM, L. RIES, H. WEBB, HANN and PAQUE (Mozart). Song, "Che farò senza Eurydice," Miss LASCELLES (Glück). Duet, "Puro ciel, tranquilla notte," Mies BANKS and Miss LASCELLES (Paer). Sonata, in C; Op. 53, for Pianoforte Solo (dedicated to Count Waldstein), Mr. CHARLES HALLE (Beethoven). PART II.-Chaconne, in D minor, for Violin Herr JOACHIM (J. S. Bach). Song, "Never forget, "Miss BANKS (G. A. Macfarren). Duet, "When the summer wind is blowing," Miss BANKS and Miss LASCELLES (Henry Smart). Trio, in E flat. Op. 12, for Pianoforte, Violin and Violoncello, MM. CHARLES HALLE, JOACHIM and PAQUE (Hummel). Conductor, MR. BENEDICT. To commence at eight o'clock precisely. pass away, and our national music find no tongue for its utterance? Two Italian theatres will be open for operatic performances, and, in all probability, a German theatre for the same purpose. The Italian theatres do not restrict themselves to their own music, but, in addition, present works from the French and German repertories. Even Russia will be represented at both Operas. Is England alone of all nations, in its own home, in the hour of its supremest glory and artistic pride, about to ignore its national opera, and render its musical pretensions in the NOTICE. It is respectfully suggested that such persons as are not desirous of remain- eyes of all foreigners a delusion and a mockery? What ing 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 for Pianoforte and Violin, an interval of Five Minutes will be allowed. The Concert will finish before half-past ten o'clock. "LYCEUM THEATRE.-One result of the enormous popularity of the Colleen Bawn at the Adelphi has been the introduction of a new word into the theatrical vocabulary. A manager who brings out a piece in which the interest of the audience is violently concentrated on one particular scene, which thus stands in strong relief to the rest of the action, boasts that he has produced a sensation drama,' and the scene which must be the inevitable conclusion in the minds of those unacquainted with art amongst us? That our composers are worthless, else they would be allowed to compete, at one or other of the great Italian houses, with Italian, French, German, or Russian masters; or, that we have no singers of eminence, else they would find some means of exhibiting their talent during the jubilee year. It seems strange, indeed, that of late years enterprise in operatic matters should almost invariably find its vent in foreign expression. This was not always the case. We remember when the lyric productions at Drury Lane and Covent Garden vieď in magnificence and attraction with the Italian Opera House itself, and not unfrequently surpassed it. But then and here, unfortunately, is the rub it was not English but foreign works which were given, sustained certainly by native artists in every department, but, nevertheless, the compositions of the renowned masters of Italy, Germany and France. To singers themselves, and not to managers, are we indebted for the establishment of a National English Justifies the use of this term is called a sensation scene. Such a scene in the Colleen Opera; and we feel assured that, had Miss Louisa Pyne and Bawn itself is the Water Cave, in which the famous header' is so conspicuous an incident. Such a scene, at the Surrey Theatre, was a complicated picture, involving perils and hair-breadth escapes which made the Idiot of the Mountain, a sensation drama on the southern side of the water, where it ran so long and became so celebrated. that another version of the French piece on which it was founded (Le Cretin de la Montagne) has been produced in the remote region of Marylebone. In central London the sensation drama' of the present time is Peep of Day, at the Lyceum, in which Mr. Telbin's scene of the quarry, with an attempted murder and a rescue, is the commanding feature. Brought out some time before Christmas, Peep o'Day rose into unrivalled lustre as the Colleen Bawn faded from the boards. On Monday last it at The ten tained its 100th night, and there is no hint of its approaching withdrawal. dency of the public to witness a whole play for the sake of one particular effect may prove an unwholesome state of the drama, but, nevertheless, a sensation scene' is not so easily contrived as might commonly be supposed. Not only should the scenepainter do his best, but the dramatist should so contrive his leading incident that it requires the pictorial illustration to give it completeness. A mere picture, however the painter's talent in Peep o' Day that has made the quarry scene such a centre of attraction." beautiful, is not a 'sensation scene, and it is the combination of the dramatist's and Mr. Harrison remained in America up to the present time, we should have had no institution of the kind. Mr. Alfred Bunn did something for English opera -- had he done nothing more than introduce Messrs. Balfe, Benedict and Wallace to the public he would have been entitled to lasting eulogium. but he was instigated, in a great measure, by being his own poet, and his notions of art were narrow and circumscribed. We see no hope at present of any theatre in London being opened for the performance of English opera during the International Exhibition. Mr. E. T. Smith, from whom alone great expectations might be entertained, has, we understand, declined the offer of Miss Louisa Pyne and Mr. Harrison to open Drury Lane with English opera during the summer months, and the theatre is announced to be let. Mr. Smith was wont to be the most energetic and speculative of managers. Has it never occurred to him that a splendid opportunity presents itself at this moment of turning English opera to the highest advantage? He would only have to secure as leading artists Mr. Sims Reeves, Miss Louisa Pyne, Mr. Santley, with other excellent singers ready to jump at an engagement, whom we need not name, to rival the attractions of any other theatre in London. And cannot this be accomplished, or has Mr. Smith-what none could have heretofore accused him of become, commercially and artistically speaking, obtuse in understanding and obfuscated in vision? We cannot believe that singers would refuse to combine on such an occasion, and feel confident that all petty jealousies, which are so rampant in the winter when free from foreign supervision, would be laid aside at the Exhibition season, on the broad and abstract principle of displaying native talent in the best light to foreigners. Depend upon it, no matter what every body asserts and whatever undeniable proof may be adduced to the contrary, that our singers, as a class, are entirely free from envy and rivalry, and that excepting on the occasion of their benefits, or when their interests are immediately concerned, or their pride has been touched, or undue comparisons established, or when under the influence of other causes of irritation too numerous to mention - they are as cool and disinterested as poets and placemen. We lament, indeed, that anything should prevent the possibility of our national operatic music being represented in the year of the great world's Exhibition, and hope that at the eleventh hour some patriotic and speculative impresario will, in honour of his country and in perfect confidence of making both ends meet, be induced to demon. strate to foreigners and continental sceptics that we are not behind other nations in the excellence of our singers and composers. JA ACQUES Elie Fromental Halévy, the celebrated composer, has just died at Nice, after a brief but severe illness. He was born at Paris, May 27, 1799, of Israelitish parents, whose name was originally Levy. In 1809, he entered the Conservatoire, and received from Cazot lessons in solfeggio, and in 1810 made rapid progress on the piano under Charles Lambert. In 1811 he became a pupil of Berton, and studied counterpoint for five years under Che rubini. He obtained, in 1819, the great composition prize for his cantata of Hermione; and the next year he was charged with writing the music of a "De Profundis" on the death of the Duke de Berri. He passed two years in Italy at the expense of the Government, and wrote Les Bohémiennes, Pygmalion, and Les Deux Pavillons (which did not appear), about this time. Five years later, in 1827, he published Phidias, and subsequently L'Artisan, a comic opera in one act; and next year he first became known by the pièce de circonstance which he wrote, in conjunction with Riffant, for the fête of Charles X., called Le Roi et le Batelier. In 1829 appeared Claris, a fiveact opera, with a part for Malibran; and subsequently, with alternations of success and failure, Le Dilettante d'Avignon (very popular), Manon Lescaut (ballet in three acts), La Langue Musicale (in conjunction with M. C. Gide), La Tentation, and Les Souvenirs de Lafleur, which latter was written for the return of Martin to the Opéra Comique. Halévy's great work, La Juive, appeared in 1835. This opera, combining his finest style, his best talent, and all the richness of his instrumentation, has been played in all the theatres of Europe. He received the Legion of Honour for this work. His subsequent compositions are too numerous to be alluded to at length. Among them may be mentioned Guido et Ginevra; ou, la Peste de Florence (1838); L'Eclair (comic), very favourably received on its appearance in 1838; Le Guitarero, comic opera in three acts (1841); Charles VI. (1842); La Reine de Chypre (1842); Les Mousquetaires de la Reine (1846); Le Val d'Andorre (1848); Le Nabob (1853); La Tempête, gorgeously produced in London, and written expressly for Her Majesty's Theatre; Le Juif Errant (1855); Valentine d'Aubigne (1856); La Magicienne (1858); La Fée aux Roses, &c. Halévy is author of a great quantity of fugitive pieces of all sorts. He has been extolled by his admirers as "most skilful in musical science, intimately versed in fugue, in counterpoint, choral and orchestral writing." Whether this be exactly true or not, all his works are conscientiously executed, his style combining the peculiarities of the French and German schools. He had been professor at the Conservatoire since 1833, member of the Académie des Beaux Arts since 1836 (succeeding to Reicha), and perpetual secretary of the Academy since the death of Raoul Rochette in 1854. In his capacity of secretary he delivered funeral orations for Onslow (1855), Blouet (1856), and David d'Angers (1857). In 1845 he was promoted to be an officer in the Legion of Honour. More recently he was elected a member of the Institute. In private life M. Halvéy was universally esteemed. S As there exist so many erroneous notions with respect to what, in the majority of instances, have been, without justification, styled the Posthumous Quartets, an authentic historical account of the production of the last five quartets, derived from materials in the new edition of Beethoven's Biography by Schindler, may not be out of place. It is a known fact, that the composition of these quartets was due, in the first instance, to Prince Galitzin. The period of their production commenced with the summer of 1824, and ended in November, 1826. As early as December, Beethoven was attacked by the disease to which he fell a victim, on the 26th of March, 1827. During the above period, he was not engaged in the composition of anything but the last quartets. The arietta, Der Kuss (published as Op. 128), and the Rondo a Capriccio for the pianoforte (published as Op. 129), are trifles interpolated in the general catalogue, and dating from a much earlier epoch. All the five quartets were in the publisher's hands during Beethoven's lifetime; consequently the addition: "Aus dem Nachlass" (from the Posthumous Papers) on the title of the quartet in A minor, and of that in F major, published by M. Schlesinger, is incorrect. This is an important fact, the real circumstances connected with the matter proving that Beethoven had given the last touches to every piece, and did not intend to make further alterations in any of them. The order in which the five so-called "Posthumous" quartets were actually produced, is as follows:1, Quartet in E flat major, Op. 127. 130 (instead of 132). 2. A minor C sharp minor 132 (instead of 131). 133 (instead of 135). The fugue in B flat major * (printed by Artaria, at Vienna, in the year, 1830, as Op. 133) originally constituted the finale of the grand quartet in B flat major (written in 1826, and first played publicly in the month of March during the same year). The publisher, Matthew Artaria, prevailed on Beethoven to write a final movement in the free style, and to publish the fugue as an independent work. This was the origin of the present finale of the quartet in B flat major (allegro two-four time), a movement which, in the joyousness of its character, and the clearness with which it is worked out, forms a remarkable contrast to its predecessors. Yet this finale was Beethoven's last composition (November, 1826); and he wrote it at Gneixendorf, in his brother's house, under the influence of the most painful domestic circumstan ces, while a victim of unmerited contumely, and (which to the illustrious musician was always a punishment) confined * That is reckoning the grand fugue in B flat major as No. 16. |