to the house in rainy weather. The fugue in D major for dred institutions, we should become complete Goths. Do I two violins, two violas, and violoncello, published as Op. 137, | hear, as an answer, that this mountebank-state of things in the year 1827, by Haslinger, Vienna, was written as far abounds in Paris, the city of refinement? I say, look at back as 1816.

| the theatres and opera houses there. It is by the GovernAll who feel an interest in the matter (and who does not ment, in a measure, that they are supported ; sufficient evi. that feels an interest in music?) should read in Schindler's dence in itself of the evil of which I speak. The public book, under what predominating changes and excitements taste has become so vitiated by the disgusting exhibitions Beethoven's last five quartets were produced. The narrative which have been and are encouraged in that city, that the throws an important though sorrowful light upon the latter | people, as a mass, are incapable of appreciating anything years of the great master's life, and explains, at least partially, approaching to Art. Grand exceptions there are of course; a fact, which cannot be denied, viz.—that, during these years, but State support being necessary, proves what I say to be in his musical creations, the struggle of inventive genius the rule. And I think that the fact of there being so few with moody contemplation commenced, and that the torch of good singers among French people is to be in a measure the former did not always flash through the errors into which accounted for by the standard of public taste having been the latter too frequently led him.

thus lowered. Plenty there are of bawlers with tone from The 17th and last of the quartets, although not the last the back of the throat; but few singers with voice from the composition of Beethoven for four-stringed instruments—the front of the mouth. However, I let that pass. rondo of the quartet, Op. 131 (usually marked Op. 130), in Who talks of “music halls” fostering taste for music in B flat, written (as has been stated) at the request of Artaria, general, or operas in particular! Why, the thing is one of the publisher, to replace the fugue which originally stood the greatest shams ever known. What say the bills ? for finale, having been produced within four months of “flying men ;” “inimitable Mackneys;" "cures;” “enBeethoven's death*-is one of the two that were not published chanted hashes;” and similar “muck.” These are the grand till after the demise of the composer. The other, in A minor, announcements. And here is one of the reasons for it: nodedicated to Prince Galitzin (Op. 130_usually styled Op. thing that addresses itself to the faculties of the soul is of 132), was nevertheless finished before the quartet in B flat, use while the appetites of the body are being appeased with Op. 130. This last (in B flat), the fugue, which was its goes of rum” and “brandy, cold without,” amid cries of first finale, the quartets in E flat (Op. 127), and C sharp "give your orders, gents !" It is only such wretched trash minor (Op. 132), were all engraved and printed during as I have named that can be really acceptable in these places. Beethoven's lifetime.

And that it is simply the element of danger in the one case,

or idiotic buffoonery in the other, that “pays,” is proved by To the Editor of the MusicaL WORLD.

the very advertisements. One thing is certain, the more

one sees of these exhibitions, the less is one's eyesight satisSIR-I did not say that the “ tavern element,” as “De

| fied. It therefore becomes necessary, in order to keep up D cani" facetiously terms it, had been introduced into our

the excitement, to be constantly increasing the marvel, churches. What I affirmed was, that such singing or shout | making the “sensation" (degrading word !) greater, and ing might suit “music halls,” but that it was altogether un

rendering the life of the performer still more perilous, until becoming in a consecrated building. After all, the shouting, eventually the advertisements will have to run: “Immense which may be deemed necessary and proper in “music , success ! terrific danger! real idiotism! and, at least one halls,” is no attraction even there. It is the other portions | man killed every week !!!" Oh, Macaulay! is man conof the “ bill of fare” that occasion the treasury accounts to stantly becoming “ wiser and wiser !" be satisfactory. But, in connection with these other induce

ments, allow me, while I am writing, to allude to two or 1 three facts, and then to offer a reflection

March 17. The “wondrous Leotard ” has met with an accident, which has resulted, I am told, in internal injuries. IIis predecessor at the Alhambra broke his back, or nearly so, and

CONSERVATIVE LAND SOCIETY. Mr. C. L. Grimeisen, secretary a subscription was raised on his behalf.

to this excellent institution, has just returned from a month's tour And Blondin, at

in Germany, Holland, Belgium and France, to resume those Liverpool, a few days ago, narrowly escaped losing his life, I official duties which he has performed with such zeal and intelliwhen he was edifying a Liverpool audience with his rope- gence since the society was first originated. walking while carrying a man on his back. And it is this SIGNOR GRAZIANI. We are informed that this barytone-bass acrobatic life-endangering element in the performances that (or rather this tenor-barytone) has entered into a fresh engageis the chief “ card” of attraction at these absurdly-called ment with Mr. Gye, and that, consequently, he will not appear “ music halls.” Now let me indirectly intimate my opinion (as was reported) at Her Majesty's Theatre. With Signor as to the result of all this.

| Graziani and Signor Delle Sedie (to say nothing of Signor Is the rising generation benefitted ? Is Art fostered,

Ronconi) the manager of the Royal Italian Opera will be stronger

than ever in a rarely weak department. taste cultivated, or music advanced ? I am afraid that, if it!"

PhilHARMONIC CONCERTS. --The vocalists on Monday evening were not for the “ Monday Popular Concerts," the “ Musi-l are to be Mlle. Parepa and Mr. Tennant. Mlle. Parepa will sing cal Society of London ” (at whose concert last Wednesday, “Non mi dir,” and Mr. Tennant the tenor aria from Gluck's by the way, the slow movement of Mendelssohn's Italian Iphigenia in Tauris. The symphonies are to be Sphor's Wiehe Symphony was the real “sensation" music), and a few kin. | der Töne, and Beethoven's No. 8.

Miss ARABELLA GODDARD will play at the next Philharmonic * Artaria's pretext was that the fugue was too long ("* 745 bars" -

| Concert (Monday evening) Sterndale Bennett's Caprice for pianosays the indefatigable Herr Lenz); but the more likely reason was, that, forte with orchestra, and, as solo, Bach's Prelude and Fugue alla at the time, few could understand, and fewer even attempt to execute it. Tarantella. When it was separated from the quartet, the fugue was published | STEPHEN HELLER IN MANCHESTER.-- This distinguished comalone, and dedicated to the Archduke Rodolphe, to whom so many other poser, in conjunction with Mr. Charles Hallé, gave a concert at remarkable works had been inscribed by Beethoven.

the Manchester Town Hall on Tuesday evening, consisting ex.

I am, &c.,


clusively of pianoforte music. The programme was made up, to a freshness that they might have been written last week, — and so they considerable extent, of Mr. Heller's own compositions, along with might, but, unfortunately, neither last nor next week, have we any some choice specimens from the works of Beethoven, Mozart, Mozart again to delight his own ages and posterity to boot. Coming to Mendelssohn, and Schubert. The marked feature of the concert |

the close of the last century, Méhul is next presented, La chasse du was Mr. Heller's improvisation on themes selected by the audi

jeune Henri, exemplifying the composer who founded the French school, ence. These themes were the “Notte egorno," from Don Giovanni,

| of which Auber is the latest and best representative. Cherubini was to and an air from Mozart's Il Seraglio. These two subjects he

France what Handel was to England, stamping his mode upon the

music of his adopted country, and the overture to Anacreon was next inwove together, along with portions of his own Wanderstunden and

troduced as a specimen of his powers. Beethoven's Leonora, overture on bis pretty expressive morceau called La Tenderesse, with con

which it would be idle to dilate bringing to a conclusion a very interestsiderable ingenuity, which called forth loud applause. There was

ing lecture. a very large attendance, and the concert was thoroughly enjoyed. The second lecture was given on Thursday evening. So favourable - Morning Herald.

| had been the impression produced on the first, that, notwithstanding the Royal English Opera. — We have arrived at the last week of excessive inclemency of the weather, there was an audience even more the season, and to vary the performances, the Puritan's Daughter numerous than on the previous night. In his former lecture, it will be has been alternated with the Lily of Killurney, and The Marriage remembered, Mr. Lincoln traced the progress of the operatic overture, of Georgette added nightly. Mr. Harrison took his benefit last

from the first essays of the Italian composers of the seventeenth century Saturday and had an overflowing “bumper." The entertainments

to the labours of Lulli in France, who first gave to these preludes inwere The Rose of Castile and a Concert, in which Mads. Parepa

terest and importance; and then followed the successive steps of this and Guerrabella, Mr. Weiss, and others assisted. Mr. Frederick

progress through the dramatic works of Gluck, Mozart, Méhul, CheruClay's new operetta, Court and Cottage, which had been announced,

bini, and Beethoven, with whose overture to Leonora, performed as an

illustration, the lecture ended. On Thursday night Mr. Lincoln, starting was withdrawn for reasons already unexplained. We are glad to

from this point, brought forward another overture of Beethoven that say, however, that the operetta will be given to-night (after Meyer

which he wrote for the same opera when it was revived in 1814 under beer's Dinorah), when Miss Louisa Pyne's benefit takes place,

its present title of Fidelio. This overture is not so grand and elaborate and the season terminates. Every seat in the house, we under as its precursor, from which, too, it differs in spirit as well as in style, stand, is taken.

having reference to the brighter rather than the more gloomy features OPENING OF THEATRES IN PASSION-WEEK.-On Wednesday of the drama. It shows, moreover, Beethoven's emancipation from the afternoon a deputation of noblemen, gentlemen and clergymen conventional forms established by Mozart. Admirably played by Mr. waited upon the Lord Chamberlain, for the purpose of presenting Lincoln and Mr. Ries, it was exceedingly effective, and was warmly apa memorial, praying him to withdraw his permission, recently plauded. The lecturer then proceeded to Weber, the peculiarities of granted, allowing all theatres under his control to remain open

whose genius he analysed with great happiness of thought and language, for theatrical entertainments during Passion-week. The Lord

characterising him as the greatest of all dramatic composers in the roChamberlain said that he could not promise to withdraw the per

mantic style. One of Weber's peculiarities, the local colouring which mission, as it had been now given, but between this and next year

he introduced into his works, Mr. Lincoln illustrated by means of his he would take the subject into consideration.

charming overture to Preciosa. The drama being a tale of gipsy life in

Spain, the overture, with its Spanish bolero and original gypsy melodies, MAD. JENNY BAUER.--All the principal provincial papers speak

is in beautiful harmony with its subject. Weber's peculiarities were in the highest terms of this accomplished artist's performance as

further developed in the Freischütz. In the overture to that opera he the heroine of Mr. Howard Glover's operetta, Once too Often,

showed his wonderful skill in introducing the most striking passages of which has been given recently at Manchester, Liverpool, Edin

the piece, and fusing them into a movement of the most perfect symburgh, &c., according to the local journals with brilliant success.-- metry of form. Passing on to Weber's contemporary, Spohr, Mr. LinMorning Post.

coln pointed out the beauties and defects of that great artist ---- his exHANDEL FESTIVAL.--A meeting of the 1,600 members of the quisite feeling for form and proportion, the richness of his orchestral coHandel Festival London Choir was held at Exeter Hall yesterday louring, entitling him to be called the Titian of Music, and on the other evening. The chorusses from Handel's oratorio, Solomon, were hand his excessive proneness to full and chromatic harmonies, and a rehearsed, a selection of the most favourite of which, it is under

certain mannerism which is apt to be fatiguing. Mr. Lincoln illustrated stood, will be a feature on the second day at the forthcoming Han

his remarks by the performance of the overture to Jessondu, Spohr's del Festival.

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 - exMr. HENRY LINCOLN'S LECTURES.- Mr. Henry John Lincoln de cepting, however, from this censure the greatest among them, Rossini, livered the first of two lectures at the Marylebone Institution, on to whose genius he did ample justice. As an illustration he gave Operatic Overture, before an audience who appeared thoroughly grati Rossini's gorgeous overture to Semiramide, which was so splendidly exfied by his treatment of the subject. The musical illustrations were ccuted that it was followed by reiterated rounds of applause, evidently played by the lecturer and Mr. Adolphi Ries, on two grand piano intended to express a desire for its repetition; and, judging from our fortes; commencing with Lulli (or Lully), who, although the father of own feeling, we think the audience were disappointed that their deFrench dramatic music, was a Florentine by birth, beginning his career | monstration was not so interpreted. Turning, finally, to the modern as a scullion, and ending it as secretary to the King (Louis XIV.). The French school, Mr. Lincoln discussed at some length, and in a very inoverture to Phaeton was given as the earliest example. To this sic teresting manner, the merits of the present representatives of that ceeded Handel's Rinaldo, an opera originally produced in 1711. Re school, Auber and Meyerbeer, giving as illustrations Auber's overtures verting to the French school, the next instance was Le Temple de la

to Masaniello and the Cheval de Bronze, and Meyerbeer's overture to Le Gloire of Rameau (1745) who at fifty years of age produced his first

Pardon de Ploermel, called in this country Dinorah. With this the opera Hippolyte et Aricie, to which succeeded many others, amongst lecture concluded. Mr. Lincoln explained why he had not given any which Castor and Pollux was represented one hundred times. Here of the overtures of Haydn or Mendelssohn; those of the former beagain was the divine art duly honoured by royalty, letters of nobility longing to operas which are now of no interest, and those of the latter and the title of Chevalier de Saint Michael being granted to the not being operatic. He however, contemplated a course of lectures in fortunate composer-for whom by the way the French claim the dis which these great musicians would find their proper places. We hope covery of the basse fondamentale, although it was known long before he will accomplish his design, for a lecture from Mr. Lincoln on a Rameau entered on the subject. Till the advent of Gluck, the overture musical subject is sure to be both entertaining and instructive. appears comparatively uninteresting, and devoid of dramatic truth. Such Royal ACADEMY OF MUSIC.-The first public concert of the season was the fame of the Bohemian musician, that he was engaged as com

was given on Saturday last, at the Ilanover Square Rooms, a chango poser to the King's Theatre, where his Caduta dei Gigunti first intro decidedly for the better. The principal feature in the first part was duced him to the British public. The turning point from the constructive the setting of the 98th Psalm, by Mr. T. Walstein, student of the Aca. to the ideal being achieved, Mozart is next introduced, and the overtures | demy, a work of much promise, smoothly written, and cleverly instruto Figaro and Die Zauberflöte, adduced to illustrate his mastery of mented, reflecting great credit upon its composer, who was unanimously that, as he was indeed, of every other form of composition. The recalled at the end of the performance. The solos were entrusted to lecturer observed, that, although the last of them dated some three- | Miss Robertine Henderson, Miss Hewitt (who undertook the part at a quarters of a century back, Mozart's works were stamped with that short notice), and Mr. Barraclough, all of whom successfully exerted

themselves, and were duly applauded. The instrumental selection com.

Provincial. prised the first movement of Hummel's pianoforte concerto in A flat, by Miss Linnington, the adagio and finale of Mendelssohn's violin concerto From the Freeman's Journal we gather that, at the third concert by Mr. J. Amor, and the adagio and allegro ayitato of Moschicles' G minor of the Dublin Philharmonic Society a new symphony, the compoconcerto, by Mr. G. E. Bambridge. Among the vocal solos were Men

sition of Dr. Rogers — “one of our rising native musicians," as he delssohn's “O rest in the Lord” (Miss Allen); “From mighty

is termed—was performed with great applause. Of the symphony kings" (Miss Armytage); the “Evening Prayer," from Eli (Miss E. B. Hall); Rossini's “Fac ut portem” (Miss Howard); and Cimarosa's "Ab!

the journalist thus writes : parlate" (Miss Henderson); two manuscript choruses of Mr. F. West

"The subject, The Ummcsinger Festival,' is well calculated to lake (student), also afforded solos for Miss Robertine Henderson and inspire the highest qualities of the composer; and if Dr. Rogers has not Mr. Rudkin. “Unless we are much mistaken, Miss Roberiinc Hender- everywhere risen to the full dignity of his theme, he has certainly disson, of whom we have had previous occasion to speak highly, has a played no insignificant capacity for the mere mechanical structure-- if brilliant career before her, being endowed with a sympathetic voice, we may so terın it-of such compositions. But he has donc more combining swectness with power, and singing with an intelligence and than this. He has given evidence in a high degree of thought and feeling which many an older and practised singer might envy. The I genuine musical inspiratiou ; and the manner in which his work was execution of Mendelssohn's 42nd Psalm, with which the concert con- performed by the band, under the able direction of the society's concluded, was not quite free from reproach, although every allowance ductor, Mr. Henry Bussell, was such as to develop its merits to the best must be made for the difficulty of the work, and the comparative inex- | advantage.” perience of the majority of the performers, whom it would be unfair to The singers, more especially the ladies, Misses Julia and Fanny judge critically under the circumstances. Mr. Lucas conducted with Cruise and Miss Ellen Williams, came in for unmeasured praise. his wonted ability, and the impression upon the audience (which entirely Miss Williams, we are told, was the most striking feature of the filled the room), was of general satisfaction.

second part, and gave the “trying air from Attila, not yet proM. SAINTON'S SOIRÉES—Musical ainateurs have been well feasted | duced in Dublin" (the “War-Song," we suppose), with warm and this weck. The ink is scarcely dry on our report of Monday's Popular unanimous applause, and would have been encored but for the Concerts, and the wonderful quartet in A minor, Op. 130 of Beethoven, / length and dificulty of the piece. Two four-part songs, by Mr. than we are invited to hear the next of these unapproachable master

Joseph Robinson, scem to have produced a decided effect; and pieces (Op. 131 in B flat), by M. Sainton, whose second Soirée took place on Tuesday last. The independent genius of Beethoven is im- ||

Miss Flynn's performance of a pianoforte concerto by Beethoven,

“was characterised by manipulative power and intelligence of pressed on every movement of this quartct, the whole exhibiting gigantic power and royal energy. The hand of a master --- an ăvaš

style.” åvopv-is everywhere apparent ; and never can the hearer forget his

The Edinburgh papers are full of the performance of Der prodigious strength, even during the melodious cavatina of the sportive Freischütz, which, with other operas, Las been recently brought out "Danza Tedesca," which reminds one of the prosopopeia of the violinist --| at Mr. Howard's Operetta House. The cast included Mlle. Jenny “ Why leap ye, ye high hills ?" The quintet of Mozart, with which Bauer, as Agatha; Miss Emma Heywood, Annchen; Herr the concert commenced, was the one in C major. Full of beautiful Reichardt, Max; and Herr Formes, Caspar – one of the most thoughts, geniality, and pleasantness, it is impossible to listen to it complete, perhaps, ever provided in the Northern Capital. Of without feeling refreshed and invigorated. The minuet and trio are the singers a journal thus writes:examples of ingenious elaboration and graceful playfulness. The “Mlle. Jenny Bauer's Agathe was a tasteful and pleasing performquartet was performed by MM. Sainton, Politzer, H. Webb, and Piatti; I ance, and her rendering of the music in the highest degree satisfactory. Nr Hann took the second tenor in the quintet. Both pieces were given She imbued the adagio. • Leise. Leisc fromme Weise with true de in first-rate style.- The other important picce was Mr. Lindsay Slo- | votional servour, and the vivace with appropriate sentiment. Miss per's sonata for pianoforte and violin in A; a composition free from Heywood made an excellent Annchen, and sang very effectively, both Affectation, trickery and exaggeration; full of earnestness, beauty, and in the solos and concerted pieces. Herr Reichardt is quite at home in cenuine feeling. The adagio is a refined and original melody; while his part, with every note of which he is thoroughly familiar, and he The final allegro shows great impctuosity and vigour, made subscrvicnt | sang with all his usual artistic judgment and fecling. Nothing could to the highest expression. If, in the first movement, the pianofortc has be in finer taste than his delivery of the aria · Durch dic Wälder, the best part of the effect, it may be fairly attributed to Mr. Sloper's durch die Auen,' which met with a reception as warm as it merited. affection for the instrument on which he plays with such consummate Of Herr Formes' Caspar it would be difficult to speak too highly. His ability. The perforinance of the souata was admirable throughout; l conception of the character is masterly, and his action throughout that the breadth of tone and perfect phrasing of M. Sainton being given con- | of an accomplished artist. His Trinklied in the first act was sung with amore in aid of the composer, who played the pianoforte part with sur.

so much spirit as to call forth a re-demand." prising effect. Signor Piatti displayed his unique talent in a rocturne and tarantella of his own composition for violoncello. The lattter is a

The manner in which the opera was put upon the stage, we are rem of beauty, although to an ordinary player it would be nearly im. | assured, reflected the highest credit on all concerned. There was, Decible on account of its difficulty. Mr. `Sloper ended the concert nevertheless, one serious drawback, as thus narrated by our conwith three waltzes from the pen of M. Stephen Heller, elegant and ori. , temporary :ginal morceaux, elegantly and gracefully played.-N.

- The principal portions both of the libretto and music were given in

the original German, and some of the dialogue and airs in English Koos

an incongruity unavoidable under the circumstances, and reminding us

of Addison's account of the early opera, when the king, as hero of the “THE LITTLE SWEET BLUEBELL."

piece, generally spoke in Italian, and his subjects in English ; thc lover

frequently made his court, and gained the lieart of his princess in a “The bluebells by the hedgeway-side,

language which she did not understand.' The merits of the performance I gather as I go

were such, however, that this was lost sight of, and the audience testified Along the road at erentide,

by the heartiness and frequency of their applause that this formed no When the sun is getting low.

bar in the way of their enjoyment.”
My love alone I think to please,
I pluck them all for her ;

ASTLEY'S APPHITHEATRE.- Mr. Batty maintains the character of
And seek them e'en amongst those trees

this house as an arera for the exhibition of every species of animal Of the lofty springing fir.

docility. Two enormous elephants have for some time astonished the

public by the completeness of their subordination and the magnitude of “ And when I've gathered large and small

their dimensions. That these gems of their kind may not be without, Amongst those bluebells sweet,

appropriate setting, the Eastern spectacle of the Rajuh of Nagpore has I take them to my love, yes ! all,

been revived with no little splendour. Of lato years other equestrian And lay them at her feet.

circles have been brought into competition with the venerable “ring" Then smiles I win, my heart to cheer,

of Astley's, but as the home of equestrian plays it stands unrivalled, From her I love so well;

and Mr. Batty, as the hippodromatic manager, continues the pedigree For to her mind the flower most dear

which commenced with the Astley's, father and son, and included Is the little sweet bluebell."-W. BROCK.

the celebrated Ducrow.


Letters to the Editor.



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'Mulheim, 2 Mars, 1862,

A GRAND ROMANTIC OPERA IN THREE ACTS; 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 TIIE LIBRETTO WRITTEN BY J. V. BRIDGEMAN ; (Salon) as singer. I am german comic singer and have sung while three years in

THE XUSIC COMPOSED BY 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 1$ (£ Sterling). My witnesses I will give you

COMPLETE – PRICE TWO GUINEAS. personely. My voice is good (Tenor & Bariton). And my person persuading. To the 9th of this month I waite for your answer, because I

CONTENTS. travel on the 11th with the steamer over (via) Rotterdam,

ACT 1, :
Kind reverences,

VOICE. 1. d.
C. G.
"Here's to wine, and here's to beauty

. 40 Duet,

T. B. 3 0 Duet, I would ask a question” (Comic)



“My own sweet child." Aria,

What glorious news" (Comic) SIR, — Will you have the kindness to inform me, at your con.

Recit. & Chorus, with Solos, “Let us haste." venience in the MUSICAL WORLD, what year the Sisters Minonolli's

Solo & Chorus, “By earth and air."

Male Voices.

Concerted Piece, " What do we see?" (the celebrated violin players) appeared in London for the first time?

"Oh, father, pity!"

S, B. and oblige your most obedient servant,

8B Duet,
Oh, reflect ere you decide."

S. B. 3


“Pretty, lowly, modest flower,

10. Finale, Act 1. [Of the “Sisters Minonolli's” we know nothing. The Sisters 104. Ballad, "Bliss for ever past." . . . . s. or Milanollo - of whom Maria the youngest is dead, and Teresa the eldest married and retired from the profession -- were only here


11. Recit, & Romance, “How peal on peal of thunder rolls." once, in the year 1845. Ed.]

12. Trio,

“By the tempest overtaken." . 13. Trio,

“ My welconie also to this roof." Cabaletta,

“Can it be, do I dream?".


“Let the loud timbrel” (Unison.)

Nay, do not run away." . Sir,-Can any of your readers tell me when " ESTHER" was first per. B


“ Though we fond men all beauties woo.' Duet,

“Thou weepest, gentle girl.”. formed under that name?

17. Drinking Song, "Let others sing the praise of wine." Yours obliged,

18. Ballad,

“The Paradise of Love."
R. E. L. 19. Finale, Act II.
1. Trio,
" What man worthy of the name."

S. B. B. 3 (Esther was first performed under that name at Cannons, the seat of the Duke of Chandos, on the 29th of August, 1720.-Ed.]

ACT II. 191.

EntrActe • .. il eentle sleep." · 20.* Ballad,

· · · · · T.

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“One of the best elementary books for learning music, as a science, that we have yet from 251 to 130 Guineas; also with the new patent self-acting blowing inachine,

seen. It is very cheap."-Globe. BOOSEY & COING, Manufacturers, 24 Holles Street, London, W.

“ The subject is treated with clearness and ability. The difficulties of almost every page are cleared up as the journey proceeds, and the learner feels himself in company

with a fellow-student, who, being slightly in the advance, blandls beckons him on." A SHDOWN and PARRY (successors to Wessel and Co.) | Critic.

beg to inform the Profession that they forward Parcels on Sale upon receipt of "New Tunes to Choice Words." Second Edition. 32 Easy, Original, Juvenile references in town. Returns to be made at Midsummer and Christmas.

four-part Songs, cloth 8vo, Is. 6d, Their Catalogues, which contain a great variety of Music calculated for teaching “So widely known and prized in schools."-Educational Record. purposes, may be had, post-free, on application.

Messrs. BoosEY & Sons, 28 Holles Street, W.; Messrs. GROOMBRIDGE & Sons, London : 18 Hanover Square.

Paternoster Row.

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OSBORNE, G. A. Farewell to the Mountain.

Price 4s.
TARGER, RENÉ. La Mer Calme, Mélodie. Price 4s.

Fête de Vendangeurs. Price 4s.

Un Ballo in Maschera, Fantasia. Price 58. . ACH, J. S. Gavotte in G Minor, and Musette in G Major, as performed by CHARLES HALLE. Price Is. 6d.

Saraband, as performed by CHARLES HALLE. Price Is. 6d. VALLCOTT, J. G. Autumn Leaves. Nocturne.

Price 3s.

Perpetual Motion Galop. Price 3s.
EYER, F. Merry Wives of Windsor. Fantasia on

Nicolai's favourite Opera, Price 4s.
E L L ER, S. Deuxième Canzonette. Price 4s.

Réveries du Promeneur Solitaire. Price 4s.
E T H O V EN. Dream of St. Jerome.

Price 23. 6d.

Fantasia. Price 4s.

Ashdown & PARRY, 18 Hanover Square.

Price 4s.


Ashdown & PARRY, 18 Hanover Square. RANZ. — QUI VIVE! Grand Galop de Concert, U played by the Composer with extraordinary success. Price 45.

ASHDOWN & PARRY, 18 Hanover Square. QOLLMICK. - ELFIN REVELS. Price 3s.

Ashdown & PARRY, 18 Hanover Square. QLOLLMICK. - DIANA. Grand Galop de Concert. Price 4s.

Ashdown & PARRY, 18 Hanover Square. SYDNEY SMITH.- LA HARPE EOLIENNE. 1 Played by the Composer daily at his Pianoforte Recitals at the Crystal Palace with unabated success. Price 4s.

Ashdown & PARRY, 18 Hanover Square. FERDINAND PRAEGER.-HOME, SWEET HOME. Price 2s.6d.

Ashdown & Party, 18 Hanover Square. FERDINAND PRAEGER. AULD LANG SYNE. Price 28. 6d.

Ashdown & Parry, 18 Hanover Square. H W. GOODBAN. - ROSALIE, THE PRAIRIE 11. FLOWER. Price 35.

ASHDOWN & Parry, 18 Hanover Square. PRISSĄC.- T'AMO, SI T’AMO. The Mazurka from Verdi's. Un Ballo in Maschera.” Price 38.

ASHDOWN & PARRY, 18 Hanover Square. BRISSA C. — DIXEY'S LAND. Price 3s.

ASHDOWN & PARRY, 18 Hanover Square. RICARDO LINTER. – TALLY HO! Fantasia (à la 1 Chasse). Price 3s.

Ashdown & PARRY, 18 Hanover Square. RUMMEL – ESPOIR DU RETOUR. Nocturne. Price 38.

Ashdown & PARRY, 18 Hanover Square. RUMMEL. – SOLITUDE. Nocturne. Price 3s.

ASHDOWN & PARRY, 18 Hanover Square. DOUARD DE PARIS. MEZZANOTTE. Fantasia on the favourite quartet from Flotow's opera “ Martha.” Price 4s.

Ashdown & PARRY, 18 Hanover Square.
ENRI ROUBIER. — ESILDA. Fantaisie-Polka de
Salon. Price 3s.

ASHDOWN & PARRY, 18 Hanover Square. TENRI ROUBIER. - FLEUR PRINTANNIERE. 1 Fantaisie-Mazurka de Salon. Price 3s.

ASHDOWN & PARRY, 18 Hanover Square. ENRI ROUBIER. - VAILLANCE. Morceau Mili. . taire. Price 38.

ASHDOWN & PARRY, 18 Hanover Square. TULES SPRENGER. — INVITATION à la POLKA. Morceau de Salon. Price 38.

ASHDOWN & PARRY, 18 Hanover Square. TULES SPRENGER.-SOUS le BALCON. SerenadeMorceau de Salon. Price 2s. 60.

ASHDOWN & Parry, 18 Hanover Square.


ROAL, G. Old England Quadrilles, on Old English

Airs (Illustrated). Price 48.

Old England Waltzes (Illustrated). Price 3s.
U VAL, E. Star of India Waltzes (Illustrated).

Price 4s.

Ace of Hearts Waltzes (Illustrated). Price 48. UCALOSSI, P. Moonlight Galop (Illustrated). Ditto

Water Lily Waltzes (Illustrated). Price 48. SCHE RF, J. Josephine Polka. Price 3s. Ditto

Canadian Polka. Price 38. ONTGOMERY, W. H. Ye Whittington Polka.

Price 38.

Price 3s.


Price 36.


By H. SMART. Sung by Madame Laura Baxter. Price 2s. 6d. TELL E, SWEET ZEPHYR. By H. SMART. 2s. 6d. D'ALL SHOULD FORSAKE THEE. By F.


Price 2s. 6d.
TTOME, SWEET HOME. Arranged as a Part Song,

by C. J. Hargitt. Price 2s.6d,

Separate Parts, 3d. each.

(Sung by Mr. Walter BOLTON. By E. Land. Price 2s.6d. ILL SPRING RETURN? Duet by Balve,

Price 3s. DREAM OF ST. JEROME. BEETHOVEN. Price 2s 6d.




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