hoven opened it. Beethoven was in the habit of rising at half-past five o'clock, sitting down at his table, marking time with his feet and hands, and writing, as he sang or hummed. At first, Michael, whenever he felt inclined to laugh at this, used to steal out of the door, but he gradually got accustomed to it. At half-past seven the general breakfast was served; after this Beethoven always hastened out into the open air, and wandered in the fields, hallooing, flinging his hands about, walking at one time very slowly, and at another very quickly, or suddenly standing still to write in a kind of pocket-book. On one occasion, when he had returned home, he discovered he had lost it. "Michael," he said, "run and look for my writings: I must recover them at any price." They were found. At half-past twelve, he used to return home to dinner; after dinner, he used to go into his room and remain till about three o'clock, when he would again roam about the fields up to sunset, for later than that he never went out. At half-past seven, supper was served. He then returned to his room, and, after writ infer that the absence of the "Diva" will be compensated for in some particulars. Mad. Csillag's Valentine will be a phenomenon. In addition to Mlle. Marie Battu, Mlle. Gordosa appears as a novelty in the list of ladies. Of this artist we know nothing. The tenors, with Signor Mario, comprise Signors Tamberlik, Neri Baraldi, Rossi, Lucchesi and Gardoni. The engagement of Signor Gardoni cannot fail to gratify in the highest degree the subscribers and the public. Wonderful to relate, the tenors are all Italians. There is hope yet for Italian song! And yet how weak the hope when it is shown that, in such a theatre as the Royal Italian Opera, among ten female artists only three are Italian, and among eleven basses, four. We beg pardon of the new basses, Signor Nanni and Capponi, whose names are too Ausonian to admit a doubt of the country whence they are derived. Mesdames Ruddersdorff, Tagliafico and Anese are at their posts as seconde donne the first-named lady ready to do good service on occasions as prima donna. Mad. Nantier-Didiée is again the contralto. The basses include all the names of last year, with the addition of Signor Delle-ing till ten o'clock, retired to bed. He would sometimes Sedie, who made so favourable an impression last year at the Lyceum Theatre, as Renato, in the Ballo in Maschera, and has been singing with distinguished success during the past season at the Italian Opera in Paris. The list of names now is unusually strong, comprising Signors, Messrs. and Herren, Ronconi, Graziani, Delle Sedie, Tagliafico, Faure, Zelger, Patriossi, Fellar, Nanni, Capponi and Formes. play the piano; the latter, however, did not stand in his bedroom, but in the sitting-room. The sitting and bedroom, which no one except Michael was allowed to enter, were situated at the end which looks towards the garden and courtyard, where the billiard-table now stands. While Beethoven was out walking in the morning, Michael had to set the room to rights. While so doing, he would frequently The director lays great stress upon the accomplishments find money upon the floor. When he gave it back to Beetand popularity of Mlle. Adelina Patti. No doubt that ad- hoven, the latter would inquire where he had found it. mirable young artist created an extraordinary sensation last Michael had to show him the spot from which he had picked season; and, if we may judge from her recent triumphs on it up, when Beethoven would make him a present of it. the continent, more particularly in the Belgian capital, we This happened two or three times, after which Michael may predict that her popularity will increase rather than found no more money. In the evening he always had to sit diminish at the Royal Italian Opera. As the conductor and next to Beethoven, and write down the answers to the quesband are the same as last year, and as the scene painters, tions the latter put to him. As a rule he used to be interrostage manager and all the leading cfficials of the establish-gated as to what had been said about him (Beethoven) at ment present no changes, we shall allow them to speak for dinner and supper. themselves. It is gratifying to assert that the prospects of the Royal Italian Opera are as bright as ever. INDER the title of Beethoven at Gneixendorf, a certain UNDER the lates, in No. 10 of the Deutsche MusikZeitung, some reminiscences of one or two trustworthy contemporaries of Beethoven, in and about Gneixendorf, the estate belonging to the composer's unworthy brother, Johann (Schindler's Biographie, vol. ii. p. 131). Those derived vivâ voce from Michael Krenn, who waited on Beethoven, and is still alive, are by far the most interesting. Beethoven, it appears, was only once in Gneixendorf, namely, in the year 1826, during about three months, from reaping time till after the vintage (that is to say, in the months of August, September and October). Michael Krenn was engaged by the mistress of the house to attend upon the great musician. At first, however, the cook had to make the latter's bed. On one occasion Beethoven, seated at his table, was waving his hands about, marking time with his feet, and singing or humming. The cook laughed at this. Beethoven, suddenly turning round, perceived her thus laughing, and immediately drove her out of the room. Michael wished to run away with her, but Beethoven, pulling him back, gave him three zwanzigers, and told him he had nothing to fear, but that he must now make his (Beethoven's) bed every day, and put the room to rights. Michael had to go to the room tolerably early, but was generally obliged to knock for a long time at the door before Beet One day his mistress sent Michael with five florins to purchase some wine and a fish at Stein. Michael was careless. He lost the money, and returned about twelve o'clock in a state of great agitation to Gneixendorf. His mistress immediately asked where the fish was, and, when he told her about his losing the money, drove him from the place. On coming to dinner, Beethoven at once inquired for his Michael, and the lady related what had occurred. Thereupon Beethoven was fearfully incensed; he gave the lady her five florins back, and insisted that Michael should instantly return. Thenceforth he no longer took his place at the table, but had his meals brought up into his own room, where Michael had also to prepare his breakfast. According to Michael's account, even before this scene, Beethoven hardly ever spoke to his sister-in-law, and but very little to his brother. Michael stated, also, that Beethoven wanted to take him to Vienna, but that the project was abandoned, on the arrival of a cook, who came to bring away the composer. WE have no doubt that many and many a fair young CRYSTAL PALACE CONCERTS.-The admirable Saturday concerts are proceeding with increased spirit. Since we wrote last about them, Herr Joachim has played with the success that never fails to attend him. His performance of Mendelssohn's violin-concerto (with orchestral accompaniments) was in itself an event of no ordinary interest, and the enthusiasm it created showed how thoroughly it was appreciated by the audience. At the same concert Mendelssohn's first published symphony and his overture to Ruy Blas (both in C minor) were introduced. The overture is familiar to all amateurs; but the symphony is a treat of so rare occurrence, and was so perfectly executed, that it is likely to be asked for again. The scherzo alone, as rendered by the band, directed with such energy by Herr Augustus Manns, is worth a visit to the Crystal Falace. There were also selections from Mendelssohn's vocal music, contributed by Mad. Louisa Vinning and Miss Eleanora Wilkinson. At the last concert (on Saturday) the symphony was Beethoven's magnificent Eroica, to which due honour was done by the zealous and excellent orchestra. Master Beringer (of the Crystal Palace) played Hummel's rondo (with accompaniments) called Le Retour à Londres-one of the most brilliant pianoforte pieces by one of the most brilliant of pianoforte com. posers; and Mr. Crozier (solo oboist of the company's orchestra — a thoroughly skilled executant) gave an effective oboe fantasie by Verroust, in a highly effective style. The overture was that of Spontini to his melodramatic opera of Olympia. The singers were Miss Parepa and Mr. Swift. The accomplished lady gave "Non mi dir," and a new valse, by Sig. Arditi, in her best manner, and was encored in the latter. A similar compliment was paid to Mr. Swift in the charming romance of" A young and artless maiden," from Mr. Howard Glover's operetta Once too Often, which could not have been sung more taste "The world of art in our capital is threatened with an irreparable loss. It is now some time since we first heard a report that Mad. Jachmann.Wagner thought of leaving Berlin for good, but we attached no value to it. Unfortunately, however, we have just found that it is the bitter truth. It is added that the reason of the great and fair artist's determination is the immense amount of jealousy, of the pettiest kind, with which she has had to contend, in her new position at the Theatre Royal. Such a state of things, if true, could not be too much deplored For the grand sympathetic business, which has been completely abandoned since the time of Mad. Crelinger, there does not exist in Berlin a single representative, while in all Germany, there are, perhaps, only two or three who excel or even equal Johanna Jachmann-Wagner. It was but recently that this lady made the difficult experiment of giving up dramatic singing to become an actress; and whoever has the faintest notion how fundamentally different the two are, must be astonished at what she has already achieved in so short a time. It is true, that we now and then heard more had been expected of her as an actress. As if Rome had been built in a day! It would, indeed, be a most lamentable fact if the fair artist, still in the prime of her vigour, majesty and beauty, both physically and mentally, had, with justifiable pride, and easily explicable dissatisfaction, felt compelled to break off her connection with this capital, partly on account of an isolated opinion, but still more through envy and intrigues, the sad weapons of unkind and base souls. Mad. Wagner-Jachmann herself can well exclaim with Göthe: 'Auf' m Neidpfad habt ihr mich nie getroffen!' ('Me you never found on the path of envy!') We seldom or ever found more honourable or warmer appreciation of the merit of others than in Mad. Jachmann. Nobleness of soul and grandeur of sentiment are the fundamental features of her character, as they are of her artistic creations. How much, then, oughtfully. The two together gave an attractive duet from Mr. Wallace's we to pity the person, or those persons, whose conscience could not entirely acquit itself of having caused the fair artist to adopt a resolution so painful to Berlin !" This is all very well, but it does not, and cannot make Mad. Jachmann, née Johanna Wagner, a great actress, and we do not think that, were she to leave, Berlin would be quite as inconsolable as the writer of the above fancies. BACH'S SOCIETY. A performance of the Passions Musik of John Sebastian Bach is announced to take place at St. James's Hall on the evening of Saturday the 24th of May, under the direction of Professor Sterndale Bennett. THE "NE PLUS ULTRA" AND MISS GODDARD.-Woelfl's pianoforte sonata, "Ne plus ultra," was repeated by Miss Goddard, its hearty reception at the previous concert suggesting its being inserted in this programme. There is nothing our gifted countrywoman plays that better illustrates her powers in distinctness of execution; and certain points were singled out last night by the audience for special applause. The staccato and octave variations to "Life let us cherish" were delicious, the diminuendo of the former being literally perfect. The difficulties of the first movement are extreme, yet Miss Goddard surmounted them with surprising ease. The running passages in thirds were faultless. The christening of this sonata implied that the acme of difficulty had been reached, and a sonata called "Plus ultra," which we may hope to hear at these concerts ere long, was forthwith brought out by a rival publisher. These things seem all alike to Miss Arabella Goddard, and if an Ultra ne plus ultra sprang into existence, we feel assured she would demolish its ultra-ness. Morning Chronicle, March 4. MISS ARABELLA GODDARD AND DUSSEK'S "PLUS ULTRA."-We wish that Dussek's sonata was re-christened, or allowed to retain its original name of "Le Retour à Paris." The title of "Plus ultra," given to it by the publisher, in a spirit of opposition to the publisher of Woelf's "Ne plus Ultra," and intended to convey the idea of greater difficulty, is ridiculous. The sonata certainly taxes the executant to the utmost; but this is no merit, while its beauties are so manifold that the technical obstacles should not be considered when the composition is discussed. We have done with mere feats of digital skill, and pieces in which display would appear to be the main object, and we are now appreciating and encouraging in every way the performance of the best music. The retention of such a title as "Plus ultra," though it serves as an excuse for anecdote, appears to us impolitic, and calculated to give impression that executive power is regarded as of more consequence than creative genius. One hearing of this sonata would serve to dispel such a notion. Nothing of the kind more uniformly beautiful has ever been written. Miss Goddard plays it con amore, and does her utmost to show that it does not depend for its effect upon mere mechanical precision. We never heard Miss Goddard render it with more poetical expression than on this occasion. -Morning Chronicle. Amber Witch. The concert afforded unanimous satisfaction. To-day (at the 6th concert) Herr Joachim is again to perform. VOCAL ASSOCIATION. The first concert took place on Wednesday evening last, at St. James's Hall, before an elegant and numerous audience. The society still continues under the presidency of the Earl of Dudley, Sir John Harrington acting as vice-president, and Mr. Benedict, as before, conductor. Since last year, some of the least efficient members of the choir have beeen weeded out, and their places supplied with more practised vocalists. A decided improvement was shown in a chorale composed by His Late Royal Highness, Prince Albert. The most noteworthy performance was a Funeral Anthem, composed in memory of the late Prince, by Herr Randegger-a work of solemn and impressive character, requiring careful singing, and in which the choir acquitted themselves with great credit. Two Welch airs, "The Dawn of Day," and "March of the Men of Harlech " (to which latter, by the way, the March in Eli bears a strong resemblance), were remarkably well done, the harp accompaniments materially aiding their thoroughly local colouring. A charming part song of Schubert's "Dance we Gaily," went with great spirit, as did also the ever welcome "O Hills, O Vales of Pleasure," of Mendelssohn. A duet for pianoforte and harp, on themes from Linda di Chamouni, by Alvars and Czerny, was played to perfection by Miss Arabella Goddard and Mr. Aptommas, the lady also contributing Benedict's "Where the Bee Sucks," to the immense gratification of the audience. Mad. Florence Lancia's sweet sympathetic voice and facile execution were so well exhibited in the prayer and barcarole, from Meyerbeer's Etoile du Nord, as to call forth an encore, gracefully declined by the talented singer, who had, however, no alternative but to comply with the same request, after singing the ballad "I'm alone," from the Lily of Killarney. The "Baron's Old Castle" (Undine), and a new and beautiful song, composed expressly for her by Henry Smart, fell to the share of Mad. Laura Baxter, whose fine voice and artistic singing did thorough justice to both compositions. Nor must we omit honourable mention of Mr. Swift, for his rendering of Mendelssohn's "Breeze, could I thy pinions borrow," and Mr. Howard Glover's song, "A young and artless maiden," which, in advertisements, programmes and books, has been transformed into "A young and heartless maiden." Mozart furnished airs for the two basses-Mr. Lawler and Herr Scaria, from the Imperial Theatre, Vienna, the former singing Oh how I shall triumph," ruined by English words, the latter, Sarastro's air from the Zauberflite, repeated by anything but general desire. We must not omit mention of the duet for two harps, cleverly played by Mr. Aptommas and Mr. John Thomas, no less cleverly arranged by the latter gentleman on Russian airs. MR. HENRY LESLIE'S CHOIR.-The programme of the third concert was, in the first part, of a sacred character, comprising four motetts, viz., Mozart's "Ave Verum;" Wesley's "In exitu Israel," unaccompanied; Henry Leslie's "I will extol thee;" with accompaniment for organ and harp; Mendelssohn's "Veni Domine," for female voices, composed for the convent of Trinita de Monte at Rome; the chorale of Nicholas Decins, as sung at the funeral of his late Royal Highness the Prince Consort; and Mendelssohn's setting of the 43rd Psalm for an eight-part choir. Curchman's trio, "Ti prego," and Handel's Suite de Pieces, for pianoforte solo, were added. Miss Robertine Henderson and Miss Whylock sustained the principal parts in Mr. Leslie's composition with great ability, Mr. J. C. Ward playing the organ part on one of Evan's harmoniums, and Mr. Layland taking the harp. The soloists in Mendelssohn's motett were Misses M. A. Walsh, Emma Charlier, and Clara West, and so well was the 43rd Psalm given, that nothing short of its repetition would satisfy the audience. We were surprised that Mr. Smart's "Ave Maria " was not similarly honoured. Mr. Benedict's hunting chorus, "Rise, sleep no more," was another triumph for the choir. How Miss Arabella Goddard plays Handel's Suite de Pièces is familiar to the public; no less so is her rendering of Mendelssohn's "Lieder ohne worte." In her hands the pianoforte becomes absolutely vocal, and the Spinn-Lied and Fruhling's Lied, together with a clever romance of Mr. Henry Leslie's, "The Rose," fairly enraptured all hearers. For the very careful manner in which they rendered the music of the first part, nearly all the pieces abounding more or less in difficulties, the choir deserves the highest praise, and to their talented and zealous conductor all credit is due for their remarkable efficiency, and that attention to light and shade which so particularly distinguishes this intelligent body of amateurs. MR. DEACON'S SÉANCES.-The taste for classical instrumental music is decidedly on the increase, and a marked leaning towards the chamber compositions of acknowledged masters may be noted as one of the musical signs of the day. That this is mainly, if not entirely, due to the influence of the Monday Popular Concerts will be at once admitted by those who have watched the steady and gradual progress of these entertainments, which are now the theme of admiration with every true lover of genuine music. Last week it was our agreeable duty to chronicle two concerts of this description; and now we have another candidate for popular favour, and one who not only deserves, but is likely to succeed, if we may judge from the admirably constructed programme of his first concert (a better word than séance, which should be left to the spirit mediums), at Messrs. Collard's rooms, on Tuesday morning last. Hadyn's quartet in B flat (Op. 76), for two violins, viola and violoncello, was the opening piece, and in the hands of Messrs. Sainton, Carrodus, H. Webb and Pezze, was all that could be desired. Beethoven's sonata in C minor (Patetica) is always a favourite, both with players and hearers. Mr. Deacon, by his performance, satisfied his audience of his capabilities as a pianist and his appreciation of the composer. In Mozart's sonata in A, for pianoforte and violin, Mr. Deacon enjoyed the invaluable co-operation of M. Sainton, whose playing is always of the highest class, and who seems thoroughly at home with all the masters, and alike capable of interpreting every shade of feeling and expression, his manipulative skill putting everything in the shape of difficulty out of the question. A series of Mendelssohn's Lieder ohne worte afforded a second and equally favourable opportunity of judging of Mr. Deacon's powers; while in Hummel's quintet for pianoforte and stringed instruments, he was powerfully supported by M.M. Sainton, H. Webb, Pezze, and C. Seven which performance brought this agreeable matinée to an effective termination. The second takes place on Tuesday, April 8th. A YORKSHIRE SINGER'S DEBUT AT TURIN,-Private letters from Turin, as well as the public journals, speak of the reception given to Miss Dobson, the favourite pupil of Mrs. Wood (under the Italianised name of Signora Dubini), at her recent début there in the opera of L'Elisir d'Amore, as something unprecedented even for that city of enthusiastic dilettanti. She was called before the curtain no less than seven times, and appears to have excited the Italians to the highest pitch of enthusiasm by kissing, in her gratitude, the red, white, and green ribbons (the colours of the national flag) she had attached to her dress, finally retiring loaded with bouquets. Mad. Clara Novello was amongst the audience, and warmly congratulated the fair young débutante upon the genuine success she had achieved. This is another triumph for Yorkshire; and Mrs. Wood may also be congratulated on having produced a pupil who has thus at a bound, as it were, placed herself at the highest point as a prima donna.-Leeds Leaf. MRS. MACREADY.-This lady, highly celebrated as a "reader" in the United States and British America, gave an "entertainment" at Willis's-rooms on Wednesday, in presence of a crowded audience, who seemed much gratified by the elocutionary display. Her repertory is large and various, comprising scenes from the tragic and the comie drama, and descriptive pieces both pathetic and humorous. Considered merely as an exhibition of mnemonic power, the performance is remarkable; for, though the entertainment is of more than average length, Mrs. Macready never has recourse to a book, or shows any need of a prompter. Being thus free to use the whole of the platform, she does not "read" in the proper sense of the word, but really acts, and as Lady Macbeth (for instance) employs as much gesticulation as if she were sustaining the part on the stage of a regular theatre. Her force is considerable, her figure commanding, and her versatility far greater than that of ordinary readers." Thus her performance is sufficiently dramatic to gratify that finely discriminating portion of the public which loves something like a play anywhere but in a theatre. THE FOURTEENTH OF FEBRUARY.-A great musical theorist died, and a great musical composer was born upon the 14th Feb. The former was a Giuseppe Zarlino; the latter the renowned Chevalier Gluck. Zarlino was too, like most theorists, a composer, and like most theorists an unsuccessful one. His musical creations have been long since consigned to oblivion, but his critical writings still find admirers. The chief of these are his Institutione Armoniche, Venice, 1562, and his Dimostrazioni Armoniche, 1589 (4 vols.) He died in the year following this his last publication, namely, 1590. Chevalier Christopher von Gluck (not Glück), the most dramatic of all dramatic "tone poets" was born on the above date, as well as (according to other biographers) on the 14th of July, 1714, and died, after a chequered career, of apoplexy (fatal to so many musicians !), in Vienna (fatal to so many more musicians !), on the 25th of November, 1787.-Brighton Gazette. THE THEATRICAL TICKET FRAUD. Recently, at the Middlesex Sessions, a young man named James Westfield was indicted for fraud. He pleaded guilty. Mr. Lewis said that the prisoner had been induced to join another person in an office for the sale of theatre tickets. The latter had put forward the prisoner as the principal, he keeping in the background. The prisoner had been in the service of an American gentleman, and his savings had been lost in this office, which was for the sale of theatrical tickets. The case was thus:-The prisoner was employed to sell tickets, and did sell one to a gentleman of title, but it was a fictitious one, and the prosecution was conducted upon public grounds, not from vindictive motives, so that an example should be made in a matter which really and truly was of considerable public importance. The object of the prosecution, no doubt, was only to put a stop to a system of fraud upon the public by the sale of these admissions without authority, and which, when presented, were found to be not admissible to that part of the theatre they were purchased for. The prosecution was instituted only to stop this system, and he (Mr. Lewis) hoped that a lenient course might be taken with the prisoner, as he pleaded guilty, and had been a mere tool in the hands of others.-The assistant judge sentenced the prisoner to pay a fine of 104, and to enter into a recognisance of 50l. DRURY LANE THEATRE.-On Saturday night the season terminated at this theatre with a performance for the benefit Mr. E. T. Smith, and Mr. and Mrs. Charles Kean played their favourite characters of Don Felix and Violante in Mrs. Centlivre's Wonder, a comedy which, like the Honeymoon, depends for its duration on those artists who retain the traditions of the old school. It is not often played now, and probably when Mr. Charles Kean retires from the stage it will be effaced from the list of acting dramas." However, it was received with roars of laughter on Saturday, thanks to the spirit with which the two great parts were sustained. Another attraction was the reappearance of Mr. Keeley, after a long retirement, as Mr. Euclid Faith in the farce Twice Killed. He played the character with that rich quiet humour which is so peculiarly his own, and the part of Fanny Pepper was sustained with much vivacity by Miss Louise Keeley, an evident disciple of her mother. "SENSATION" DRAMAS. To the Editor of the "Times." Sir,-Will you allow me to repudiate the cant word "sensation" attributed to me in The Times of this day, and which, in truth, I was the means of bringing into use? It is a bad word, and I beg pardon for it. You might in fairness also except the Colleen Bawn, from the dramas to which you allude, as owing their value to one trick effect, called a "sensation scene." The water-cave in the Colleen Bawn and the rescue of the drowning girl, were not introduced into the drama until it had been played for some time, and had achieved its popularity. These effects were after-thoughts. If a drama having sustaining power in its plot and in its development of character is to be called "sensation" because its scenic realization is made as perfect as possible, then I claim that Mr. Charles Kean made Macbeth a "sensation" drama, when the ghost of Banquo appeared in a transparent pillar, and Mr. Macready sensationized the Tempest when he introduced the shipwreck. These were certainly afterthoughts, and scarcely as appropriate to those plays as the rescue in the Colleen Bawn. Those were no Shakspearian revivals but Shakspearian "sensation dramas," when the public crowded to see the limelight fairy rings in the Midsummer Night's Dream, and the carnival in the Merchant of Venice, for Shakspeare was not revived by these magnificent decorations-he merely lay in state. If the effects in my dramas are likewise open to criticism, I submit humbly to take my share of the punishment; but, although success is an aggravating circumstance in my case, justice forbids that my shoulders should monopolize all the nine tails of the critical cat. The action of the press in this matter reminds me of an old dame at whose school I learnt the alphabet, and the injustice of mankind. When our little community was found out in a general delinquency, there was a scape boy who got all the birch, and a pet boy who got all the jam. Yours truly, Hereford House, March 12. DION BOUCICAULT. We cannot see that our attempted explanation of the popular phrase "sensation drama" implied the slightest depreciation of the Colleen Bawn, or conveyed the opinion that the attraction of the piece depended on the "water-cave" alone. There is no doubt that the drama was effective throughout, and that to those who enjoyed humorous acting more than scenic display, the dialogue between Myles Na Coppaleen and Father Tom afforded greater pleasure than the attempted murder and rescue of Eily O'Connor. But the image that presented itself to the public mind when the Colleen Bawn was mentioned -the symbol of the piece, we may say-the situation that formed the subject of the transparency outside the theatre was the deliverance of Eily, with its scenic appurtenances; and to the prominence thus given to one particular scene, the origin of the phrase "sensation drama" seems to be traced. If the use of this phrase is supposed to imply that the whole piece, with the exception of the "sensation scene," is worthless, it can scarcely be employed without injustice. In Peep o'Day, for instance, the "faction fight," which is so conspicuous a feature of the second act, is unjustly slighted by any expression that tends to represent the " quarry scene as the sole source of approbation and patronage. But we do not admit that when a man mentions a hill in a particular district he thereby implies that the rest of the country is scarcely above the level of the ea. Letters to the Editor. HARP MUSIC IN REQUEST. SIR,I write to you (as to one whom I deem best capable of giving me the information I require, if kindly minded so to do) to know if you can send me the names of any good pieces for the harp, either original compositions or arrangements of any pretty songs, either from any of the new English operas, or on the airs in general, of any other than the old well-known arrangements from the standard Italian operas. My reason for writing is, that I have been vainly looking through the lists of have not seen a single piece for the harp announced. Surely the brothers new music for sale in your publication now for some time past, and Chatterton must have something new to perform, either composed by themselves or some one else for them. I enclose a stamp to prepay answer to this, and shall be much obliged for any information on this subject you may be able to send, addressed as above, to one of your constant readers. N. E. G. THE EARLIEST EDITION OF IL TROVATORE. DEAR SIR,-Both words and music of the above Christmas Burlesque were written by Your humble servant, J. H. TULLY. P.S.-As a professor, allow me to offer my thanks for the Crystal Palace article. J. H. T. MOZART AND THE CHIMES AGAIN. [The following letter has appeared in a German contemporary, Just Published, price 38. Die Neue Berliner Musik-Zeitung, in answer to the question CAPRICCIO FOR THE PIANOFORTE. of Herr Schneider, which appeared in No. 9 of the MUSICAL WORLD.] "Dear sir,-I am fortunately in a position, without any particular merit on my part, to give some clue towards the elucidation of the question propounded by Herr Louis Schneider with regard to Papageno's song, even though I cannot answer it completely. "It was not from his own rich store that Mozart took the song of 'Der Vogelfänger bin ich ja,' and 'Ein Mädchen oder Weibchen, as well as the duet, Bei Männern, welche Liebe fühlen;' he merely elevated these charming productions by his magnificent instrumentation into imperishable works of art. Schikaneder, the author of the libretto of Die Zauberflöte, was a wretched singer. For this reason, in his own operatic books, he either composed himself, or suggested to the composer, the passages he had to sing. It is well known that he was the first Papageno, though by no means the best, for it was his peculiar appearance, the dress of feathers, which produced a greater effect in his case than the words and songs. Is it not very probable that Schika. neder's practical spirit of annexation or his unscrupulous conscience seized on the melody of the popular song, 'Ueb' immer Treu und Redichkeit,' and recommended it to the composer for the words, Ein Mädchen oder Weibchen.' The present form, too, of the duet, where Papageno and Papagena see each other for the first time, is not the original one. In the first sketch, both, lost in astonishment, exclaimed once or twice: Papageno! Papagena !' On hearing this, Schikaneder, who was directing the rehearsal, turned to the orchestra, and said: Holloa, Mozart, that wont do; the music must express more astonishment; both of them must at first look at each other, without uttering a word; then Papageno must begin stammering, Pa-pa-pa -pa; Papagena must repeat this, until both at last succeed in pronouncing the name in full.' In the second act, when the priests assemble, they did so, at the grand rehearsal, without any musical accompaniment. Schikaneder insisted on a pathetic march being composed for it. On this, Mozart is reported to have said: Here, give me your precious manuscript,' and immediately wrote in the magnificent march. -Thus we see that even the loftiest genius, when engaged for the material stage, should not always despise the practical views of the mere actor. Composed and Dedicated by permission to The Right Honourable the COUNTESS SOMERS, By EDWARD THURNAM. London: ROBERT COCKS & Co., New Burlington Street. VANS'S ENGLISH HARMONIUMS for Cottages, Schools, Drawing Rooms, Churches, Literary and other public Institutions, are made in every possible variety at prices from 6 to 140 guineas. The Manufacturers have to announce the complete success of a New Patent Self-Acting Blowing Machine, the only self-acting blower that has ever succeeded, which may be seen in operation at Holles Street daily. The most distinguished living musicians, including Balfe, Sterndale Bennett, Cipri. ani Potter, Best, Henry Smart, &c., have testified to the extraordinary merits of Evans's Harmoniums. See testimonials attached to Illustrated Catalogues of Harmoniums, to be had gratis of the Manufacturers, BOOSEY & CHING, 24 Holles Street, London. EVANS'S ENGLISH MODEL HARMONIUM, with two rows of keys, price 66 guineas in oak case, or 70 guineas în rosewood case, combines every modern improvement. The most beautiful and varied orchestral effects can be produced upon this instrument, which possesses every gradation of tone from the greatest power to the most delicate piano pieces. The English Model Harmonium is managed with that facility which characterises all Evans's Harmoniums, and is equally effective both in the drawing room and church. BOOSEY & CHING, Manufacturers, 24 Holles Street, London, W. EVANS'S PEDAL HARMONIUMS, with independent Pedal Reeds, can be had either with a single or double row of keys, at prices from £51 to 130 Guineas; also with the new patent self-acting blowing machine. BOOSEY & CHING, Manufacturers, 24 Holles Street, London, W. ASHDOWN references in town. Returns to be made at Midsummer and Christmas. J. FINCHAM, ORGAN-PIPE MAKER, VOICER, and TUNER, 110 EUSTON ROAD, LONDON. 64. Twenty-five Comic Songs, Is. 65. One Hundred Reels, Country Dances, Pianoforte, 16. 66. One Hundred Christy's Airs, for Pianoforte, Is. 67. Twenty-four Pieces, for Juveniles, Is. 68. Thirty Classical Gems, for Piano, Is. 69. Twenty-eight Easy Songs to Popular Melodies, Is. 70. Twenty New Christy's Songs (5th selection), Is. Any Number post-free for 1s. 2d. BOOBEY & SONS, Holles Street. W. H. Holmes's Fantasia, "The Puritan's Daughter' Brinley Richards's "Bliss for ever past." Brinley Richards's Fantasia on the Favourite Airs Galop, from The Puritan's Daughter," arranged by C. Coote Other Arrangements in the Press. London: ADDISON, HOLLIER & LUCAS, 210 Regent Street 6 4 3 0 00000000 4 HE MUSICAL STUDENT'S MANUAL, Combining the ing of Vocal Music, by THOMAS MURBY, Editor of the "Golden Wreath," "New Tunes to Choice Words," &c. Div. I.-Relating to Sound, pp. 136, price 2s. Div. II-On Rhythm, to complete the Work, will be published shortly. The "Manual" is used as a text-book at the Borough Road, Stockwell and Westminster Training Colleges. "One of the best elementary books for learning music, as a science, that we have yet seen. It is very cheap."-Globe. "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, blandly beckons him on." Critic. "New Tunes to Choice Words." Second Edition. 32 Easy, Original, Juvenile four-part Songs, cloth 8vo, ls. 6d. "So widely known and prized in schools."-Educational Record. Messrs. BoosEY & SONS, 28 Holles Street, W.; Messrs. GROOMBRIDGE & SONS, Paternoster Row. |
