clusively of pianoforte music. The programme was made up, to a considerable extent, of Mr. Heller's own compositions, along with some choice specimens from the works of Beethoven, Mozart, Mendelssohn, and Schubert. The marked feature of the concert was Mr. Heller's improvisation on themes selected by the audience. These themes were the "Notte egorno," from Don Giovanni, and an air from Mozart's Il Seraglio. These two subjects he wove together, along with portions of his own Wanderstunden and his pretty expressive morceau called La Tenderesse, with considerable ingenuity, which called forth loud applause. There was a very large attendance, and the concert was thoroughly enjoyed. -Morning Herald.

ROYAL ENGLISH OPERA.- We have arrived at the last week of the season, and to vary the performances, the Puritan's Daughter has been alternated with the Lily of Killarney, and The Marriage of Georgette added nightly. Mr. Harrison took his benefit last Saturday and had an overflowing "bumper." The entertainments were The Rose of Castile and a Concert, in which Mads. Parepa and Guerrabella, Mr. Weiss, and others assisted. Mr. Frederick Clay's new operetta, Court and Cottage, which had been announced, was withdrawn for reasons already unexplained. We are glad to say, however, that the operetta will be given to-night (after Meyerbeer's Dinorah), when Miss Louisa Pyne's benefit takes place, and the season terminates. Every seat in the house, we understand, is taken.

OPENING OF THEATRES IN PASSION-WEEK.-On Wednesday afternoon a deputation of noblemen, gentlemen and clergymen waited upon the Lord Chamberlain, for the purpose of presenting a memorial, praying him to withdraw his permission, recently granted, allowing all theatres under his control to remain open for theatrical entertainments during Passion-week. The Lord Chamberlain said that he could not promise to withdraw the permission, as it had been now given, but between this and next year he would take the subject into consideration. MAD. JENNY BAUER.-All the principal provincial papers speak in the highest terms of this accomplished artist's performance as the heroine of Mr. Howard Glover's operetta, Once too Often, which has been given recently at Manchester, Liverpool, Edinburgh, &c., according to the local journals with brilliant success.-Morning Post.

HANDEL FESTIVAL.-A meeting of the 1,600 members of the Handel Festival London Choir was held at Exeter Hall yesterday evening. The chorusses from Handel's oratorio, Solomon, were rehearsed, a selection of the most favourite of which, it is understood, will be a feature on the second day at the forthcoming Handel Festival.

MR. HENRY LINCOLN'S LECTURES.—Mr. Henry John Lincoln delivered the first of two lectures at the Marylebone Institution, on Operatic Overture, before an audience who appeared thoroughly gratified by his treatment of the subject. The musical illustrations were played by the lecturer and Mr. Adolphi Ries, on two grand pianofortes; commencing with Lulli (or Lully), who, although the father of French dramatic music, was a Florentine by birth, beginning his career as a scullion, and ending it as secretary to the King (Louis XIV.). The overture to Phaeton was given as the earliest example. To this succeeded Handel's Rinaldo, an opera originally produced in 1711. Reverting to the French school, the next instance was Le Temple de la Gloire of Rameau (1745) who at fifty years of age produced his first opera Hippolyte et Aricie, to which succeeded many others, amongst which Castor and Pollux was represented one hundred times. Here again was the divine art duly honoured by royalty, letters of nobility and the title of Chevalier de Saint Michael being granted to the fortunate composer-for whom by the way the French claim the discovery of the basse fondamentale, although it was known long before Rameau entered on the subject. Till the advent of Gluck, the overture appears comparatively uninteresting, and devoid of dramatic truth. Such was the fame of the Bohemian musician, that he was engaged as composer to the King's Theatre, where his Caduta dei Gigunti first introduced him to the British public. The turning point from the constructive to the ideal being achieved, Mozart is next introduced, and the overtures to Figaro and Die Zauberflöte, adduced to illustrate his mastery of that, as he was indeed, of every other form of composition. The lecturer observed, that, although the last of them dated some threequarters of a century back, Mozart's works were stamped with that

freshness that they might have been written last week, and so they might, but, unfortunately, neither last nor next week, have we any Mozart again to delight his own age, and posterity to boot. Coming to the close of the last century, Méhul is next presented, La chasse du jeune Henri, exemplifying the composer who founded the French school, France what Handel was to England, stamping his mode upon the of which Auber is the latest and best representative. Cherubini was to music of his adopted country, and the overture to Anacreon was next introduced as a specimen of his powers. Beethoven's Leonora, overture on which it would be idle to dilate bringing to a conclusion a very interesting lecture.

The second lecture was given on Thursday evening. So favourable had been the impression produced on the first, that, notwithstanding the excessive inclemency of the weather, there was an audience even more numerous than on the previous night. In his former lecture, it will be remembered, Mr. Lincoln traced the progress of the operatic overture, from the first essays of the Italian composers of the seventeenth century to the labours of Lulli in France, who first gave to these preludes interest and importance; and then followed the successive steps of this progress through the dramatic works of Gluck, Mozart, Méhul, Cheruillustration, the lecture ended. On Thursday night Mr. Lincoln, starting bini, and Beethoven, with whose overture to Leonora, performed as an from this point, brought forward another overture of Beethoven - that which he wrote for the same opera when it was revived in 1814 under its present title of Fidelio. This overture is not so grand and elaborate as its precursor, from which, too, it differs in spirit as well as in style, having reference to the brighter rather than the more gloomy features of the drama. It shows, moreover, Beethoven's emancipation from the conventional forms established by Mozart. Admirably played by Mr. Lincoln and Mr. Ries, it was exceedingly effective, and was warmly applauded. The lecturer then proceeded to Weber, the peculiarities of whose genius he analysed with great happiness of thought and language, characterising him as the greatest of all dramatic composers in the romantic style. One of Weber's peculiarities, the local colouring which charming overture to Preciosa. The drama being a tale of gipsy life in he introduced into his works, Mr. Lincoln illustrated by means of his is in beautiful harmony with its subject. Weber's peculiarities were Spain, the overture, with its Spanish bolero and original gypsy melodies, further developed in the Freischütz. In the overture to that opera he showed his wonderful skill in introducing the most striking passages of the piece, and fusing them into a movement of the most perfect symmetry of form. Passing on to Weber's contemporary, Spohr, Mr. Lincoln pointed out the beauties and defects of that great artist quisite feeling for form and proportion, the richness of his orchestral colouring, entitling him to be called the Titian of Music, and on the other hand his excessive proneness to full and chromatic harmonies, and a certain mannerism which is apt to be fatiguing. Mr. Lincoln illustrated his remarks by the performance of the overture to Jessonda, Spohr's best opera. Turning then to the modern Italian composers, he noticed their general incapacity, from the defective nature of their studies, to produce solid and masterly instrumental music cepting, however, from this censure the greatest among them, Rossini, to whose genius he did ample justice. As an illustration he gave Rossini's gorgeous overture to Semiramide, which was so splendidly executed that it was followed by reiterated rounds of applause, evidently intended to express a desire for its repetition; and, judging from our own feeling, we think the audience were disappointed that their demonstration was not so interpreted. Turning, finally, to the modern French school, Mr. Lincoln discussed at some length, and in a very interesting manner, the merits of the present representatives of that school, Auber and Meyerbeer, giving as illustrations Auber's overtures to Masaniello and the Cheval de Bronze, and Meyerbeer's overture to Le Pardon de Ploermel, called in this country Dinorah. With this the lecture concluded. Mr. Lincoln explained why he had not given any of the overtures of Haydn or Mendelssohn; those of the former belonging to operas which are now of no interest, and those of the latter not being operatic. He however, contemplated a course of lectures in which these great musicians would find their proper places. We hope he will accomplish his design, for a lecture from Mr. Lincoln on a musical subject is sure to be both entertaining and instructive.

his ex

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ROYAL ACADEMY OF MUSIC.-The first public concert of the season was given on Saturday last, at the Hanover Square Rooms, a change decidedly for the better. The principal feature in the first part was the setting of the 98th Psalm, by Mr. T. Walstein, student of the Aca demy, a work of much promise, smoothly written, and cleverly instrumented, reflecting great credit upon its composer, who was unanimously recalled at the end of the performance. The solos were entrusted to Miss Robertine Henderson, Miss Hewitt (who undertook the part at a short notice), and Mr. Barraclough, all of whom successfully exerted

66

themselves, and were duly applauded. The instrumental selection com. prised the first movement of Hummel's pianoforte concerto in A flat, by Miss Linnington, the adagio and finale of Mendelssohn's violin concerto by Mr. J. Amor, and the adagio and allegro agitato of Moscheles' G minor concerto, by Mr. G. E. Bambridge. Among the vocal solos were Mendelssohn's "O rest in the Lord" (Miss Allen); "From mighty kings" (Miss Armytage); the "Evening Prayer," from Eli (Miss E. B. Hall); Rossini's "Fac ut portem" (Miss Howard); and Cimarosa's "Ah! parlate" (Miss Henderson); two manuscript choruses of Mr. F. Westlake (student), also afforded solos for Miss Robertine Henderson and Mr. Rudkin. Unless we are much mistaken, Miss Robertine Henderson, of whom we have had previous occasion to speak highly, has a brilliant career before her, being endowed with a sympathetic voice, combining sweetness with power, and singing with an intelligence and feeling which many an older and practised singer might envy. The execution of Mendelssohn's 42nd Psalm, with which the concert concluded, was not quite free from reproach, although every allowance must be made for the difficulty of the work, and the comparative inexperience of the majority of the performers, whom it would be unfair to judge critically under the circumstances. Mr. Lucas conducted with his wonted ability, and the impression upon the audience (which entirely filled the room), was of general satisfaction.

M. SAINTON'S SOIRÉES-Musical amateurs have been well feasted this week. The ink is scarcely dry on our report of Monday's Popular Concerts, and the wonderful quartet in A minor, Op. 130 of Beethoven, than we are invited to hear the next of these unapproachable masterpieces (Op. 131 in B flat), by M. Sainton, whose second Soirée took place on Tuesday last. The independent genius of Beethoven is impressed on every movement of this quartet, the whole exhibiting gigantic power and royal energy. The hand of a master- an avat avopis everywhere apparent; and never can the hearer forget his prodigious strength, even during the melodious cavatina of the sportive "Danza Tedesca," which reminds one of the prosopopeia of the violinist"Why leap ye, ye high hills?" The quintet of Mozart, with which the concert commenced, was the one in C major. Full of beautiful thoughts, geniality, and pleasantness, it is impossible to listen to it without feeling refreshed and invigorated. The minuet and trio are examples of ingenious elaboration and graceful playfulness. The quartet was performed by MM. Sainton, Politzer, H. Webb, and Piatti; Mr. Hann took the second tenor in the quintet. Both pieces were given in first-rate style. The other important piece was Mr. Lindsay Sloper's sonata for pianoforte and violin in A; a composition free from affectation, trickery and exaggeration; full of earnestness, beauty, and genuine feeling. The adagio is a refined and original melody; while the final allegro shows great impetuosity and vigour, made subservient to the highest expression. If, in the first movement, the pianoforte has the best part of the effect, it may be fairly attributed to Mr. Sloper's affection for the instrument on which he plays with such consummate ability. The performance of the souata was admirable throughout; the breadth of tone and perfect phrasing of M. Sainton being given conamore in aid of the composer, who played the pianoforte part with surprising effect. Signor Piatti displayed his unique talent in a rocturne and tarantella of his own composition for violoncello. The lattter is a gem of beauty, although to an ordinary player it would be nearly impossible, on account of its difficulty. Mr. Sloper ended the concert with three waltzes from the pen of M. Stephen Heller, elegant and orielegantly and gracefully played.-N. ginal morceaux,

Provincial.

From the Freeman's Journal we gather that, at the third concert of the Dublin Philharmonic Society a new symphony, the composition of Dr. Rogers-"one of our rising native musicians," as he is termed-was performed with great applause. Of the symphony the journalist thus writes:

"The subject, The Ummesinger Festival,' is well calculated to inspire the highest qualities of the composer; and if Dr. Rogers has not everywhere risen to the full dignity of his theme, he has certainly displayed no insignificant capacity for the mere mechanical structure-if we may so term it-of such compositions. But he has done more than this. He has given evidence in a high degree of thought and genuine musical inspiratiou; and the manner in which his work was performed by the band, under the able direction of the society's conductor, Mr. Henry Bussell, was such as to develop its merits to the best advantage."

The singers, more especially the ladies, Misses Julia and Fanny Cruise and Miss Ellen Williams, came in for unmeasured praise. Miss Williams, we are told, was the most striking feature of the second part, and gave the "trying air from Attila, not yet produced in Dublin" (the "War-Song," we suppose), with warm and unanimous applause, and would have been encored but for the length and difficulty of the piece. Two four-part songs, by Mr. Joseph Robinson, seem to have produced a decided effect; and Miss Flynn's performance of a pianoforte concerto by Beethoven, was characterised by manipulative power and intelligence of style."

66

The Edinburgh papers are full of the performance of Der Freischütz, which, with other operas, has been recently brought out at Mr. Howard's Operetta House. The cast included Mlle. Jenny Bauer, as Agatha; Miss Emma Heywood, Annchen; Herr Reichardt, Max; and Herr Formes, Caspar one of the most complete, perhaps, ever provided in the Northern Capital. Of the singers a journal thus writes:

Miss

"Mlle. Jenny Bauer's Agathe was a tasteful and pleasing performance, and her rendering of the music in the highest degree satisfactory. She imbued the adagio, Leise, Leise fromme Weise,' with true devotional fervour, and the vivace with appropriate sentiment. Heywood made an excellent Annchen, and sang very effectively, both in the solos and concerted pieces. Herr Reichardt is quite at home in his part, with every note of which he is thoroughly familiar, and he sang with all his usual artistic judgment and feeling. Nothing could be in finer taste than his delivery of the aria Durch die Wälder, durch die Auen,' which met with a reception as warm as it merited. Of Herr Formes' Caspar it would be difficult to speak too highly. His conception of the character is masterly, and his action throughout that of an accomplished artist. His Trinklied in the first act was sung with so much spirit as to call forth a re-demand."

The manner in which the opera was put upon the stage, we are assured, reflected the highest credit on all concerned. There was, nevertheless, one serious drawback, as thus narrated by our contemporary:

The principal portions both of the libretto and music were given in the original German, and some of the dialogue and airs in Englishan incongruity unavoidable under the circumstances, and reminding us of Addison's account of the early opera, 'when the king, as hero of the piece, generally spoke in Italian, and his subjects in English; the lover frequently made his court, and gained the heart of his princess in a language which she did not understand.' The merits of the performance were such, however, that this was lost sight of, and the audience testified by the heartiness and frequency of their applause that this formed no bar in the way of their enjoyment."

ASTLEY'S AMPHITHEATRE.—Mr. Batty maintains the character of this house as an arena for the exhibition of every species of animal docility. Two enormous elephants have for some time astonished the public by the completeness of their subordination and the magnitude of their dimensions. That these gems of their kind may not be without, appropriate setting, the Eastern spectacle of the Rajah of Nagpore has been revived with no little splendour. Of late years other equestrian circles have been brought into competition with the venerable "ring" of Astley's, but as the home of equestrian plays it stands unrivalled, and Mr. Batty, as the hippodromatic manager, continues the pedigree which commenced with the Astley's, father and son, and included the celebrated Ducrow.

NEW OPERA.

Letters to the Editor.

LETTER TO A MUSICAL AGENT IN LONDON.

(Authentic.)

Mulheim, 2 Mars, 1862, SIR,-In two weeks I make a travelling to London, and pray from you the kindness to seek for me an engagement in a fine local (Salon) as singer.

I am german comic singer and have sung while three years in the first hotels in Germany, Belgique and Holland. I have a great and fine property (costumes) and a great deel of fine songs. My executions will themselves recommend. My demand for every evening is 18 (£ Sterling). My witnesses I will give you personely. My voice is good (Tenor & Bariton). And my person persuading.

To the 9th of this month I waite for your answer, because I travel on the 11th with the steamer over (via) Rotterdam. Kind reverences,

THE SISTERS MINONOLLI'S.

THE PURITAN'S DAUGHTER.

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