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MADAME NITA NORRIE and MR. JOHN WILSON hntiiiu RETURNED from their Tour through the Provinces, are open to Engagements for CONCKRT8, Sec.
All Communications to be addressed, care of Mr. Korrie, Blenheim Crescent, Notting Hill, \V.
MR. DAVID LAMBERT (Bass Vocalist) will Sing at Uxbridge Haydn's CREATION, January 15; Bury (Suffolk), 17th; Bury (Lancashire), 28; and Barnard Castle, 31st, &c.
Communications for Engagements to be addressed 15 Adelaide Square, Windsor, Berks.
MISS ROSE HERSEE will sing H. Hersee's new Song,
WANTED, a SITUATION, by a young Man: can Tune,
TO THE PIANOFORTE AND MUSIC TRADE.— The Advertiser Is desirous of meeting with an Engagement in a London House, as ASSISTANT or TRAVELLER ; is experienced in the Trade, and undentands Book-keeping, First-class references.
Address, M. G. R.,D. Davison and Co. 244 Regent Street.
TO COMPOSERS ABOUT TO PUBLISH.—J. H. JEWELL, Mime Publisher, undertakes the Printing and Publishing of every description of Musical Work, greatly under the usual charges. Estimates given. 104 Great Russell Street, Bloomsbury, W.C., near the British Museum.
CHURCH OF ST. MARK,
MYDDLETON SQUARE, PENTONVILLE.
THE ORGAN at the above Church, having received the addition of a 5-stop Pedal, will be RE-OPENED, with a full Choral Service, on THURSDAY Evening, 16th January, 1802.
Service to commence at Half-past Seven o'clock, Mr. Albert Dawes, the Organist and Choir-Master, will preside, and display the beauties of this superb instrument.
A Collection will be made after the Service.
f (City) Messrs. Dlrasdale, Drewctt, Fowler and Barnard.
Standing Counsel: Richard Matins, Esq., Q.C., M.P.
Secretary: Charles Lewis Grunclsen, Esq. Offices open from 10 to 5; except on Saturdays, and then from 10 till 2 o'clock. SHARE DEPARTMENT. Interest payable half-yearly on shares is 5 per cent, per annum, with power of withdrawal of subscript ion at ten days' notice, and participation in any bonus declared above the ordinary interest. No partnership liability. The Liking of land is quite optional. A share paid a year in advance costs £5 Is. Gd.; completed share is £51 3s. Gd.: twenty shares, £1023 Us., and so on in proportion, calculating £51 3s. (Id. for each share. The interest and bonus paid by the Society have ranged from 4J to 7 percent. The Society paid five and a half per cent, for the past year. The system is adopted for all classes of the community, anil investors can communicate by correspondence, as well as by personal attendance. Monthly payment on one share is 8s.
DEPOSIT DEPARTMENT. Sums, large or small, may be deposited at the Offices daily. Interest allowed is now 4 per cenr. per annum, payable half-yearly. Withdrawals of deposits paid every Wednesday, under £100 ; from £100 to £500, at twenty-one diiy< ; and i'Vlo, anil upwards,
On one month's noiio bers of the Society, orders, Ac.
Investors under the Deposit Department do not become'memRemittances may be made in checks, half-notes, post-office
Freehold plots on valuable estates in eighteen counties, are now on sale, the taker of each plot being allowed to borrow seven-eights of the purchase money, payable in easy monthly instalment!. Plans of Estates, price 6d. each, or 7d. by post. Advances for V%ujding on liberal terms.
THE MUSIC FROM
"ONCE TOO OFTEN,"
Will be Published on the 17th of January, by
"ALICE, WHERE ART THOU?"
46 A LICE, Where Art Thou?" Romance; sung by
Signor Qardoni, and written by Wellington Guernsey, Music by J. Ascher. "Mr. Ascher, whose fame as a writer of pianoforte music is European, has proved himself in * Alice, where art thou ? * as consummate an artist as a vocal writer as he is renowned us a composer for the pianoforte. The melody is graceful, flowing, and original, full of thernost original feeling and thought. It has been sung by Sims Reeves, Gardonl, Mr, Ten nan t, Mr Perron, Mr. Tedder, Mr. Melchor Winter, and all the leading tenors of the day. Two editions of this romance have been printed—one in B flat for ladies' voices, and the other in D flat for tenors. Altogether, we have seldom met with a composition embodying all the elements of popularity In so great a degree aa M. A scher's romance or ' Alice, who art thou?' and one that must, on Its merits alone, become the moat popular song of the present day."—(Irish Timet.)
In tlm Press,
"ALICE," transcribed for the Pianoforte by J. Ascher.
JLondon: Duncan Davison and Co.v 244 Regent Street, W.
Just Published, Price 4s.,
J? MILE BERGER'S NEW PIANO SOLO, 2J "LES ECHOS DE LONDRES."
This new fantasia was composed expressly for M. Ole Bull, Herr Formes, Mr. and Mrs. Tennant, and Miss Anna Whitty's provincial tour. It has been played by Mr. Emlle Bcrger (as well as the transcription of Ferrari's popular serenade " Vicni, Vieni") every where with the greatest success, and has invariably been encored.
"The introduction of the two popular melodies,' Gentle Annie and * Dixy's Land,' was a happy Idea of Mr. Berger. The audience were delighted, and the applause was so great that the talented pianist was obliged to return to the platform ana repeat the fautasta, to the great delight of the audience."—Sheffield Paper.
London: Duncan Davison and^Co. 244;Regent Street, W.
TTERR REICHARDT'S NEW SONG,
LA. "ARE THEY MEANT BUT TO DECEIVE ME T*
Sung At the Crystal Palace Concerts by HERR REICHARDT, with immense success.
The Timet says: " Herr Reichardt, the German tenor, whose pure, classical style and fervid expression—still remembered. In spite of two years' absence—were displayed with the utmost effect In a characteristic song from his own pen, entitled 'Are they meant but to deceive me?' which exhibited more than one touch worthy the composer of that deservedly popular romance,1 Thou art so near and yet so far.'
London : Published by Duncan Davison and Co. 244 Regent street, W.
BLUMENTHAL'S new Compositions for the PIANOFORTE,"The days that are no more," Madame Sainton's popular song, transcribed, price 3s., and " Un petit Cadeau," Bluette, 3s.
London: Duncan Davison and Co. 244 Regent Street, W.
T S. BACH'S "PASSIONS-MUSIK" (according to
19 • the text of St. Matthew). Vocal Score, with Pianoforte Accompaniment, und the Editorship of Professor STERNDALE BENNETT. Now published for the first time in England. The English text adapted by Miss H. F. H. Johnston.
Subscribers to this work are respectfully informed that it will be ready for delivery by the middle of February. Subscription, One Guinea, Price to Non-Subscribers, One Guinea and a half. Subscribers' names received until the 1st of February. Tho Chorus parts, 5s. each, will also be ready.
Lamborn Cock, Hutchinqs and Co. (late Leader and Cock), 62 and 63-
LOCKE'S MACBETH.—SIXPENCE.—Published this Day, Boosey and Sons' complete Edition of Locke's Music to MACBETH, in Vocal Score, with Pianoforte accompaniment. Price Sixpence.
Boosky and Sons. Holies Street.
will be sent Free of Charge to any part of the World.
MUSICAL DIRECTORY, REGISTRY, and ALMANACK for 1862. Jost Published. Contents: — 36S Miniature Musical Biographics ; the Addresses of Musical Professors, &c, throughout the Kingdom ; the
Great Britain during 1861; Advertisements of everything new and interesting in connection with Music. Price" Is. Gd., by Post la. 8d.
Ri'dall, Rose, C.utTEand Co, 20 Charing Cross.
rpHE QUEEN'S CONCERT ROOMS, HANOVER
J- SQUARE—The Proprietor, Mr. COCKS, begs to inform those ladies and gentlemen who purpose giving concerts, balls, soirees, matinees, lectures, or other entertainments, as also the directors of religious societies and others, that these celebrated ROOMS ARE NOW READY FOR USE.
Por particulars, apply to Messrs. Robert Cocks and Co. New Burlington Street, and 4 Hanover-square, Publishers to her Most Gracious Majesty the Queen, and to his Imperial Majesty Napoleon HI.
? Long Ago " — Musical Sketch for the Pianoforte — Virginia Gabriel (Ewer and Co.).
Also pleasing and well-written, quaint and pretty in the bargain, inscribed to that clever and rising pianist, Miss Caroline Molique, and with the additional recommendation of owing nothing to Mendelsshon.
"Christmas Bells"—Song, words by JoriN Oxenford, music by Niels W/ Gade (Ewer and Co.).
The words of this Christmas song may best speak for themselves:—
"Christ came to earth upon this day,
The holy Lord of heaven.
Hallelujah, praise our Lord!
"Arise, my soul, no longer mourn,
Who brings as consolation.
Hallelujah, praise our Lord!"—
And, although we cannot say of Herr Gade (as of Miss Gabriel) that in this, or indeed in any instance he has afforded us of his talent as a composer, he owes nothing to Mendelssohn, he has matched the neat perfection, if not sustained the originality (see for example the ninth bar, "Only Lord of Heaven"), the poet with whom we find him associated. In short, the thing is altogether faultless.
"Patrick's Adieu," — " The Lily of the Valley"—words by E. A. E., music by Jules Schmidt (Hopwood & Crew).
"Patrick's Adieu" has a taste of the old Irish melody about it, especially in the minor part; but Herr Schmidt should avoid such progressions as the following :—
"Hope"—a Pastoral,—words by Shenstone, music by W. Abbott, Op. 62 (Metzler and Co.).
Mr. Abbott's "Op. 62 " is as bucolic as the words of the old English poet to which it is married,—we will not add, ,and marred by the marriage. "Op. 62 " has this peculiarity —that, in the symphony, the pedal is to be footed and unfooted alternately, at the beginning and at the end of evey chord respectively. It has this peculiarity. We can find no peculiarity in Mr. Abbott's " Op. 62 " but this peculiarity. Shenstone's words will be recognised in the opening quatrain :—
"My banks they are furnished with bees,
And my hills are white over with sheep."
"Magdalena"—by Peter The Venerable, translated by the Rev. Alexander Ross—music by C. G. H.; "Magdalena"— transcribed for the pianoforte—- by Thecla Badarzewska (Oetzmann & Co.).
"Pone luctum, Magdalena." The Rev. Mr.Ross, who has ably and scholarly translated this hymn to the Magdalen, might have rendered his purchasers a further good turn by telling them something in a foot note of Peter the Venerable, who, while flourishing A.d. 1092, wrote this hymn to the Magdalen ■— " Cantum sacrum antiquum," — as Jules Janin or Mr. Bridgeman might post put. , The music of C. G. H., in a word, is harmonious, impressive and beautiful; and, while — " simplex munditiis," ns Mr. Bridgeman or Jules Janin might interput—it soars without striving, and engages the sympathies of all alive to the charm of devotional melody without effort. It is some time since we have received so interesting a work for review.
The pianoforte transcription of Thecla Badarzewska (" composer of the celebrated ' La Priere Exaucee'"—as the title page informs us) is clever, well-written, showy and effective.
"Guitare"—Polonaise-bolero, pour piano—W Kruger,
(Ewer and Co.). We're in luck with this batch of " music for review;" for though Herr Kriiger cannot lay any great claim to origina, lity either of ideas or of construction, he may fairly command acknowledgment for musician-like, handling of his materials. Indeed, we should be puzzled to lay our index on a single weak bar.
Mdnicii.— For about six months, no concerts of any importance were given here, and now they are following each other with unusual rapidity. On the 11th inst., the Musikalische Acadcmie began their Subscription Concerts, in the Royal Odeon, with Beethoven's Symphony in C minor, performed in a manner worthy of the reputation already achieved by, the members of the orchestra. Of the other pieces in the programme Mendelssohn's Violin Concerto, played by Herr Walther, was the most applauded. He was called forward three times. The vocal selection consisted of the grand scene from Otello, sung by Miles. Stehle, Eicliheim, and Herr Heinrich; Herr Tombo undertaking the harp accompaniment. There were about 2000 persons present, the King, Queen, and Prince Luitpold being among the number. A few days subsequently Faubel gave B Soiree at the Museum, when the principal feature was Hummel's Quintet in E flat major ; M. Mortier de Fontaine attempting the pianoforte part from memory. Shortly afterwards, the Philharmonic Association gave their second Matineo in the Royal Odeon. The most important piece in the programme was Mozart's Pianoforte Quartet in G minor. If report speaks truth, the members of the Musikalische Academic intend giving—in addition to their four Subscription Concerts—a Grand Concert, at which they will perform Herr Franz Lachner's Sturmesmythe, which was so successful at the Vocal Festival in Nuremberg. M. Gounod's Faust is to be produced on the 28th inst, in honour of the birthday of his Majesty Maximilian IL
MUSIC AT BERLIN. (From our own Correspondent.') A Performance of Fidelio which I heard, or, as our French friends say, at which "I assisted," a few evenings since, demands some notice. Mad. Kiister was most especially good in the part of the heroine, so good, indeed, as to throw all tho artists aronnd her in the shade, though they are far from bad. The cast was the same as it has been for a considerable period, with the exception of Herr Krause, who assumed the character of Rocco, formerly sustained by the veteran, Herr Zschiesche. The part of the jailor — an old, true-hearted, and somewhat simple-minded fellow — is drawn with such sharp lines by the composer, that its distinguishing features cannot very well fail to be correctly grasped by an artist of moderate perceptive powers. The tinge of thorough, bluff honesty which Herr Kraasc imparted to his singing was thoroughly appropriate. Herrcn Kriiger and Bost, Florestan and the Minister respectively, played and sang very creditably. Herr Taubert conducted in a manner which proved that he had a due appreciation of the music. There was only one thing for which I could not praise him, and that was the rapidity with which, in several instances, he took the tempo. This tended to weaken the effect of some of the numbers, such for example as the duet in A minor, after the " melodrama." The time of the duet in G major, as well as of the concluding movement, was, on the other hand, all that could be desired.
After being connected with it for at least twenty years, Mad. Herreuburg-Tuczek has at length bid adieu to, the Royal Opera House. The farewell benefit accorded her at the Royal command was a most brilliant affair, though, of course, tinged with a certain degree of sadness and regret on the part of the fair artist herself and of the public, at the idea of parting. As the well-known song has it: " Scheiilcn, ach! Scheiden 1 Scheiden thut Well '."
As I informed you in my last letter, she selected Mozart's Nozze di Figaro for the occasion, Susanna being one of her favourite characters. The house was crammed to the ceiling, and the audience overwhelmed the fair artist with every possible manifestation of their kindly sentiments towards her. She was applauded vociferously after every separate piece, and called on at the end of each act. At the conclusion of the opera she spoke a few words—almost inaudible from emotion— begging the public to think of her sometimes after she had left them and retired for ever into private life. As a mark of respect, all her former colleagues lent their aid to render the performance a model one, so that even the smallest character was sustained by an artist of celebrity. Mile. Lucca undertook the part of the page, Clierubin, for the first time, singing and acting it with such dash and spirit that she was applauded to the echo, and encored in one of her airs. Mad. Kiister was the Countess, and Herr Krause "il barbicrc."
A monster concert has been given, by Royal command, in the Victoria Theatre, under the direction of Herr Wieprecht, the principal performers being the members of the military bands here. The house presented a most imposing spectacle, the space before the curtain being filled by a fashionable and elegant audience, while the stage was occupied by a compact mass of executants. Shortly after seven o'clock, the members of the Court made their appearance, the King and Queen being at their head. Immediately afterwards, a roll on the drums, at first very faint, but increasing gradually till the sound became almost overpowering, announced that the concert had begun. This was followed by Mendelssohn's magnificent " Wedding March " (transposed to E flat major). Then came a number of choruses and part-songs, which have been so often given that the audience were pretty well as intimate with them as the singers themselves. The great and engrossing attraction of the evening was the Grand March composed by Meyerbeer for the Coronation of the King,'and performed, on that occasion, at Kiinigsbcrg, as all the readers of the Musical Would must remember. It was admirably rendered by the combined infantry and cavalry bands present, and excited the enthusiasm of the audience to a tremendous pitch.
The programme of the first Domchor-Soiroc consisted of choruses and motets by composers of sacred music, from Palestrina down to Neithardt. They were all given a capella, in the usual masterly style, under the direction of the present director, Herr M. D. von Herzberg. The execution of some of them was absolutely perfection itself. The instrumentalist on the occasion was Herr Leo Lion (a pleonastic name, as it strikes me; why not Herr Leo, pur et simple; or Herr Lion, ditto; or Herr Leo Lowe; or Herr Leo Leon; or must the gentleman absolutely have two names equivalent to each other, to denote that, like Coleman's hero, he is two single gentlemen rolled into one j or, on the Incus a non lucendo principle, is he thus bi-appellate, thus duonomous, to suggest that, though he repeats himself in his name, he will not repeat himself in his works; or—— but no; I will pursue this interest
ing subject no further, at present; I feel I am becoming bewildered, as I consider it. I will discuss it in a pamphlet devoted solely to it. I will bother myself no more now), as I observed, the instrumentalist on the occasion was Herr Leo Lion ; a pupil, as I have been informed, of Dreyschock. His instrument is, of course, the pianoforte. He is a debutant, whom I never heard before. But why does he call himself Herr Leo
—be still, my heart! On the whole, he was successful, and has
every reason to be satisfied with his reception. He played two pieces: Mendelssohn's Fugue in F minor, and J. S. Bach's well-known Gavotte. His rendering of the first was confused and hurried; but he performed the last in a manner which reminded mo umnistakeably of his master. This young aspirant for artistic fame promises well, and, if he would
not entitle himself Herr but no more of that.
The second of Herr Radeckc's Subscription Concerts was distinguished by three most interesting works, new to the majority of the Berlin audience, although one is a century old. I allude to Bach's "Suite for Stringed Instruments and Flute," a peculiar composition, thoroughly steeped in the taste of the time when it was written, and, consequently, of historical value. An eminent musical critic here says: "It is perfectly charming to hear this stern old gentleman, whose speciality was sacred music, strike up a merry secular tunc, and to be conducted by him into the ball-room of the tie-wig period, where he leads the steps and figures as well as any one in the world. We behold the Polonaise, Courante, Sarabandc, Chaconne nnd Menuct succeed each other as joyously as in an album of Dance-music. It was reserved for Papa Haydn to give this confused medley a definite stamp, and, out of the turmoil of the ' Suite,' to create the Symphony, with its forms which i will last for all time. In Bach, we have the Symphony in mice ; in Haydn, the dear, coaxing, merrily-laughing child j in Mozart, the handsome youth, and, in Beethoven, the energetic man, with sturdy well-knit frame." The second novelty was Joachim's Violin Concerto, "in Ungarischer Wcisc." It was excellently performed by Herr Laub, who carried out the slightest intentions of the composer with laudable fidelity, and overcome the overwhelming difficulties with which the maestro has interspersed the score, as though they were mere child's play. The concert was brought to a close by Perfall's solos and choruses to the well-known fairy story of Undine. The subject has been treated, more or less successfully, by a great number of composers. Perfali's version is not a great work, but it contains many beauties, and is a very respectable specimen of moderate talent. It was well performed. The chorus was fresh, steady and correct, and the orchestra tolerably satisfactory, while the solos, sung by Mad. Cash, Herrcn Seyffart and Miillcr went with remarkable smoothness.
Before concluding, I have one or two remarks to make concerning my last letter. I have just received the number containing it. I cannot tell you what a depressing effect it has had on me—how many long cherished illusions it has dispelled for ever. I once believed my manuscript was not more than justifiably intelligible. I once fondly fancied j that London compositors could make out anything; that, if needs were, I they were capable of deciphering a medical prescription, or unravelling the Chinese hieroglyphics on the tea-chests in the grocers'shops. Alas! ! how rudely have I been undeceived! My lost letter was swarming | with typographical errors, which sometimes completely obscured, and, in no instance, improved the sense of what I wrote. Thus, at 1. 29 of the second column, p. 804, I am made to say "alia podrida," instead of '* olla podrida.'' I! who pride myself de que puedo hablar y encribir la | lengua custellana 1 A little further on, at 1. 43, "dicbische" is transj formed into "diebeschc," while at 1. 36 of the first column, p. SOS, j "awarded " is made to do duty for "rewarded." I am very particular j about my punctuation; indeed, the number of commas, semicolons, colons, 'and full-stops, in which I indulge, is enormous. I own I am averse to employing these signs indiscriminately, as such a system tends slightly to obscure the meaning of what one writes, and, therefore, I strongly object to the full stop instead of a comma after the word "chronicling," at I. 56 of the same column and page. At 1. 69, "destined periods," instead of "distinct periods," is somewhat calculated to puzzle the readers of the Musical Would. At 1. 2 of the second column, of the same page, I find "Carneval," while, at 1. 22, "Paris Kios" are by no means as correct as " Paris Kids." Proceeding a little further to 1. M, I find " Weldvoglein," which I cannot allow to be a good substitute for " Wald-viiglein," nor can say I experienced any very ecstatic delight at beholding "Hen- von Hiilscn" figuring away, at 1. 6 from the bottom, as " Herr von HiilsenAae/," the addition to his name having been made at the expense of the auxiliary "had," which is omitted. I thought every one was acquainted with the late Joseph Hume's favourite expression: "the sum bottle," but it appears I was wrong; otherwise at 1. 28, column 1, p. 806, " the sum totele" would not stare me in the face, But I am not angry; I am only sad, for one of the articles of my faith has been mercilessly proved false. I once placed implicit confidence in the theory of your witty and clever colluborateur, II. Sutherland Edwards, who affirmed that the worst "copy "was always set up the most correctly, because it was given to the most skilful compositors, while legible manuscript, like reprint, was invariably confided to the apprentices. Alas! H. Sutherland Edwards, you are the victim of a fearful error—or, stay! is it possible my handwriting is too legible? That is a point requiring deep consideration.
MR. HENRY LESLIE'S CHOIR. The performances of the excellent company of singers which goes under the name of " Mr. Henry Leslie's Choir," and could not be more appropriately denominated, the circumstances of its origin and progress considered, are now annually looked forward to with interest by amateurs of vocal part-music in this harmony-loving capital. On Wednesday night a new series of five concerts, was begun, with well-deserved success. The rooms in Hanover Square — entirely renovated, and presenting an unusually bright and cheerful appearance — were filled by an audience as attentive as it was numerous. Mr. Henry Leslie was heartily welcomed on entering the orchestra, and the entertainment commenced with the customary loyal tribute in tho shape of the National Anthem (Mr. Leslie's own arrangement), with the subjoined additional verses by Mr. W. H. Bellamy, written, it may be presumed, for the occasion:—
"Should wai's fell bUtl once more
The programme was varied in character, including several pieces of the highest merit, two or three agreeable bagatelles, and others of less apparent value. The well-known glee, "Here in cool grot and mossy dell," for example, pretty enough when intruded, as its composer (the Earl of Morniugton) intended, to solo voices, sounds rather empty than otherwise when delivered, as on Wednesday, by a chorus some 70 strong. The system of turning glees into choruses is as questionable as that of turning sonatas or quartets into symphonies. We cannot but think that the safest principle is to allow composers to speak for themselves, after their own manner, and in the precise form in which they have bequeathed their works. The glee (the first piece of the evening) was followed by a madrigal, "Why with toil tby life consuming," from a pen more facile than ingenious—that of R. L. Pcarsall. This is of the calibre of "Oh, who will o'er the downs so free," though hardly so tuneful, and distinguished, besides, by ll mixture of styles (as at the passage, " Come with me," where a diatonic progression is immediately followed by some modern French harmony), which amounts to no style at all. Next came Mendelssohn's "First day of spring," a part-song in three divisions, of a wholly different order. Hire we have fresh and beautiful ideas, agreeably and concisely set forth, harmonised richly though unobtrusively, and marked throughout by a style as original as it is well sustained. After the compositions that preceded it, the "First day of spring" was a real treat—a genuine poetical effusion compared with an exhibition of stump oratory. To this succeeded a once familiar ballad—delight of our grandmothers!—"The lass of Richmond Hill," arranged as a four-part chorus by Mr. Henry Leslie, whose experienced musicianship, we cannot but think, might have been more profitably employed. James Hook, "the Norwich Apollo," father of the Winchester prebendary and of Theodore "the wit," at one time enjoyed a certain measure of popularity, emulating Kotiwara in "Battle-pieces" for the pianoforte, chiefly noticeable for their inferiority to the "Battle of Prague," and giving out an indefinite number of ballads, of which "The lass of Richmond Hill," though by no means a masterpiece, is by no means the worst. Hook was for a long period composer to Vnuxhall Gardens, which being now a defunct institution, it is to be feared— unless Mr. E. T. Smith devotes "Cremorne" to their revival—that bis numerous works, vocal and instrumental, must continue to repose in oblivion for want of a fitting arena. Another composer of even less distinction—W. Knyvett—was next represented by a glee, " O my love's like the red, red rose," the words of which are worthy of music of a more refined description. The irreproachable style in which this glee was sung by Miss Annie Cox, Mrs. Dixon, Messrs. A. Matthison and Hodson, made it still more regrettable that a finer specimen of the English national part-song should not have been selected. The instrumental display that followed—a duet for two pianofortes " on airs from Euryanthe" (we always thought "the Mermaid's song" was in Oberon), the composition, or rather concoction, of M. Ravina—was welcome solely on account of the spirited and brilliant manner in which it was executed by two young ladies of the choir, Misses M. A.
Walsh and Catherine Thomson. Regarded from the point of view of musical excellence it was beneath criticism. The first part, however, ended triumphantly with two eight-part anthems, composed by Mendelssohn expressly for the famous Cathedral choir at Berlin—one for "Christmas," the other for "New Year's Day," both masterpieces of choral writing, and both delivered with a clearness, a steady intonation, and pointed emphasis, reflecting the highest possible credit on Mr. Leslie and the singers who so zealously and with such sterling talent work under his direction. In these nnthems, and in it still more trying task—No. 3 of John Sebastian Bach's six grand motets for double choir (-'Ich lasse dich nicht du segncst inich denn") to the English version of Mr. Bartholomew—the members of the choir distinguished themselves most honourably, and if, at intervals, some slight discrepancy might be detected in the Bach-music, regarded as a whole the execution must rank as a really memorable achievement. While the motet everywhere soars to the loftiest realm of harmony, in certain places it joins to the invariable grandeur of Bach the wonderfully felicitous expression by which Handel more frequently intensifies the inner signification of words. The opening slow movement is throughout as melodious as it is pathetic, and the sequel, where the corale, "Weil du meiu Gott und Vater hist," is given in unison by the sopranos, the reiteration of the words, "Ich las.-e dich," &c. (already quoted), in elaborate divisions, by the other voices, is even a more special and striking case in point. The second curate, "Dir Jesu, Gottcs Sohn, soy Preis," in four-part harmony, for the two choirs in unison, one of the most solemn of those impressive hymn-tunes by his fervid and religious treatment of which Bach may be said to have invented a musical language for the inculcation of the Lutheran faith, brings the motet to a termination with unsurpassed sitblimily. The third of the six motets is perhaps the easiest of the scries; but it is enormously difficult, nevertheless, and when it is stated that indisposition kept away a considerable number of singers (seven or eight tenors among the rest) upon whom Mr Leslie naturally depended, such a performance as that of Wednesday may be praised without reserve. Never were lain els more niagiiunimotisly earned. The cause of Bach is the cause of music; for no musician ever devoted his heart to higher, purer, and less selfish ends than the revered Cantor of St. Thomas's — the " giant of Thuringia." All that he has written should, therefore, be heard, whatever tho difficulties involved; and they who, like Mr. Leslie and his choir, cheerfully and zealously undertake the task of making Bach familiar to the crowd of amateurs are well entitled to the respect which they can hardly fail to elicit.
Thus the second part of the concert began as nobly as the first part ended. The piece that followed Bach's motet, a "coronach" (for women's voices) to Walter Scott's words, from The Lord of the Isles :—
"He is gone on the mountain,
with music by Schubert, was felt (though, notwithstanding the black border with which that particular page in the programme was distinguished, not expressly stated to be so) as an indirect tribute to tho memory of an illustrious personage, and, as such, listened to with peculiar interest. Another popular melody (far superior to the first) — "Believe me, if all those endearing young charms," arranged as a fourpart chorus by Mr. Leslie; Kuckcn's vigorous but somewhat commonplace part-song for men's voices—" The Northmen's song of freedom;" one by Mendelssohn, "The deep repose of night is ending," in which the spirit of devotion finds a musical utterance that is incomparable; and an admirably written carol—"Be present, ye faithful"—the composition of Mr. Henry Leslie (who should have given us more of his own original work, and less of his mere "arrangements"), completed the programme. The concert afforded unequivocal satisfaction, every piece being attentively heard and warmly applauded, while three provoking "encores" unprofitably lengthened the entertainment,which,nevertheless, terminated at a reasonable hour.
Tho next subscription concert takes place on Wednesday, February, the 12th.
Cassie..— Some few weeks ago a new Gcsangvercin was established consisting of ladies and gentlemen, and called after its founder, Herr Heinrich Weidt, formerly music director at court, the Wcidt'schcr Gcsangvercin. It has already given a most successful and most numerously attended concert, and, although the admission was gratuitous, a very respectable amount was collected in voluntary contributions at the doors, and handed over to the poor. In addition to Mozart's Davide penitente, the programme included two quartets by the lamented Dr. Spohr, and several solo pieces. The choruses went with great precision and pureness of intonation, and it was evident they had been rehearsed with extreme care.
From London the Sisters Marchisio proceeded to Liverpool and Manchester, in both of which towns they appear to have created no less profound a sensation than in the metropolis. The critic of the Daily Post of the former city, writing about the concert of the Pliiharmonic Society, at which they appeared on Tuesday evening last, thus eloquently and fervidly apostrophises the fair artists:—
"Tho Sisters Marchisio, fresh from their London triumphs, which fully endorsed their great continental reputation, presented themselves for the verdict of the Liverpool musical public. Their reception, as usual at these concerts, was somewhat chilly; but their splendid gifts and brilliant execution soon thawed all reserve, and all their pieces were applauded to the echo. As tho sisters confine themselves almost entirely to the music of Rossini, and as they sing wonderfully his most difficult dual morceaux, they subject their talents to a most crucial test. But they come triumphantly out of the ordeal; and certainly no singers can bo more adapted by nature and accomplished by nrt to popularise the music to which they devote their powers.
«' The Sisters first appeared in the duet, 'Ebben ' a to, ferisci,' and no thing could have been better chosen to exemplify the joint and several qualities of the groat singers. The solo which each has to sing revealed to us that the two voices are perfectly distinct, the one being a full round contralto, the other a brilliant and mellow mezzo-soprano, possessing in its own special compass a trenchancy and flashing power peculiarly its own. Tho 'Giorno d'orrore' united the two in one of Rossini's most splendid torrents of melody; and the light and shade, the precision, the oneness with which the beauties of the duet were brought out, were equally astonishing and delightful. The same characteristics were exhibited in that other magnificent duet of Rossini, 'No, Matilde, non morrai.' The ' Vanne o caro' was given with marvellous spontaneity and exactness; and the concluding stanza,'Ah so m'anin, il caro bene,' was ono of the most exquisite gushes of expressive melody we ever heard."
A correspondent writes from the same places :—
"At St. George's Hall, two very interesting concerts were given on Friday evening and Saturday morning. The programme consisted of Welsh music. The songs were sung chiefly in the Welsh language by the following Welsh vocalists: — Miss Sarah Edith Wynne, Miss Kate Wynne, Mr. Lewis Thomas and Mr. John Owen. Mr. John Thomas was the harpist; Mr. H. V. Lewis accompanied at the pianoforte. 'Talhaiarn' recited two favourite pieces; and though last not least, Mr. Brinlcy Richards, the Welsh pianist par excellence, gave his two fantasias on Welsh airs, introduced by him at the Great National Festival held at Denbigh (North Wales), and Abcrdaro (South Wales). We need hardly state that Mr. Richards played them con amore, and that he was encored and compelled to return to the pianoforte after each performance. There were several other encores, including the National Chorus; 'Hail to thee, Cambria;' the duot 1 Hen Forgan a'i Wraig,' sung by Miss S. Wynne and Mr. Owen;—the ballads, 'Y'Dcryn pur' and ' Merch y Molinydd,' sung by Miss S. G. Wynne—who by the way 'became' her Welsh costume a rawi'r— Mr. Briuley Richards' own popular ballad, 'Tho Harp of Wales, and the national song of' The march of the men of Harlech,' both capitally given by Mr. Lewis Thomas, The part song of Mr. Brinley Richards 'The Vale' (Ar hyd y nos), was greatly admired and much applauded, and the same approbation was extended to Miss Kate Wynne in the song from Miss William's collection, 'Y Bore Glos.' Miss Kate eke ' became ' the Cambrian equipment <i ravir, and we should not be surprised at the Liverpool ladies adopting the fashion 'for a space.' The programme of the morning concert was identical with that of the evening, except the pianoforte solos of Mr. Brinley Richards were a capriccio by Handel (1720), his own popular romance, dedicated to Miss Arabella Goddard, known as 'Ethel,' and his own admirable and spirited Tarantelle dedicated to Mr. Charles Halle. The concerts were under the management of Mr. John Owen (Owain Alaw, Pencord), director of tho National Festivals held at Llangollen, &e."
The Manchester Examiner and Times gives a flattering account of the first appearance of the Marchisios in Manchester, from which we extract the following: —
"The Sisters Carlotta and Barbara Marchisio made their first appearance last evening in our Concert Hall. Oh! you fair ones, who sing so charmingly those pretty school pieces in the drawing-room to admiring papas and mammas, listen to these sisters, and learn from them a lesson relating, not alone to music, but to all other duties of life,—
learn what patient devotion can succeed in accomplishing. The first piece selected last evening was the duo from Semiramide, 'Ebben' a tc, ferisci!' given with a brilliancy of execution, a richness of tone, a light and shade, and truth of expression, only to be grasped by artists of the highest natural gifts. A ' Bolero,' by Rossini, written as if the groat composer was desirous of trying what the human voice could possibly reach, went off with an abandon there is no describing. We may say the same of that duet from Matilde di Sltabran, and ' Le Zingare.' The reception, even from a proverbially cold audience, could not be otherwise than flattering ; and we venture to think that their acknowledged success in Paris, Berlin, Vienna and London, will follow the sisters equally through the English provinces. The next novelty was Arthur Napoleon—who played Liszt's pianoforte fantasia on airs from Norma, and gained a decided success. M. Lamoury also found appreciation as a violoncellist; and our old favourite Vieuxtcmps played a solo of his own, in his own masterly style. The male vocalists were Mr. Walter Bolton, Signors Cosselli and Ciampi."
A letter from Romford gives the subjoined information : — "We are coming out at Romford in tho musical line, thanks to the Volunteers, who seem just now to be active agents in giving life and animation to the Concert Rooms. The Romford (First Essex) Volunteer Rifle Corps, stimulated by the artistic exertions of other corps, metropolitan and provincial, gave an excellent performance of vocal and instrumental music on the 19th ult., at the New Corn Exchange, in aid of the Band Fund of the Regiment. There was a full attendance, and a large muster of the green and gray-coated gentry. The list of vocalists comprised Mile. Florence Lancia, Mad. Laura Baxter, and Signor Nappi; that of tho instrumentalists, Herr Schulthoi and Mr. A. Sullivan (pianists), Herr Louis Ries (violin), and Herr Daubert (violoncello). Mr. Frank Mori and Mr. A. Sullivan conducted. That the Romford public are not supposed to be disinclined towards classical music may be gathered from the fact that Mendelssohn's trio in C minor, for pianoforte, violin and violoncello, heralded the first part, and that Haydn's trio ' A l'Ongarese,' for the same instruments, commenced the second. Mendelssohn's piece was performed by Mr. Sullivan, Herr Ries and Herr Daubert, and Haydn's by tho same violinist and violoncellist, with Heir Schulthes at the piano. Both trios were extremely well played. One of Do Bei iot's Concertos for the violin, by Herr Ries, pianoforte solos by Herr Schulthes, a solo on the violoncello by Herr Daubert, and a pianoforte duet by Mr. Sullivan and Herr Schulthcss, were the other instrumental performances. The vocal music was highly attractive. Mile. Lancia created a great sensation by her beautiful voice and brilliant style. She sang Mr. Frank Mori's new song ' A thousand miles from thee,' and the 'Shadowsong' from Dinorah, in the last of which she obtained an enthusiastic encore. Mile. Lancia also joined Mr. Plater (I have no knowledge of this artist) in Mendelssohn's duet' Zulcika and Hassan,' and won yet another encore. Mad. Laura Baxter sang the c.inzonetta, ' Fanclulle che il core,' from Dinorah, and Mr. Benedict's ballad, 'By the sad sea waves,' her beautiful voice extorting an encore in Meyerbeer's song. Not less gratifying to the company than the solos were the quartet from Rigoletto ' Un di so ben,' Sung by Mile. Lancia, Mad. Laura Baxter, Mr. Plater and Signor Nappi; and Bishop's quintet 'Blow, gentle gales,'by the above, with tho addition of Mr. Kellcher. To conclude, the concert was a great success, and the Band Fund, no doubt, will be benefited."
A correspondent from Peterborough writes as below :—• "Mr. Thacker, organist of Thorney Abbey, has been giving a series of concerts at Peterborough, Thorney and Whittlesey. The singers were Miss Clara Wight, a young lady of promise, who possesses a charming mezzo soprano voice, and the choirs of Peterborough Cathedral and Thorney Abbey. Tho instrumentalist were tho brothers Booth, two violinists and a violoncellist, who in conjunction with Mr. Thacker (piano) performed several trios, duets and solos, all of which gave great satisfaction to crowded audiences. These young gentlemen are unquestionably artists of great promise, and their playing is excellent. The trio D minor of Mozart, and the solos on the violoncello (by Master Ferdinand), and on the violin (by his brothers, Albert and Otto,) were loudly applauded."
From Souihsea a correspondent writes :—
"Mr. F. Chatterton, assisted by Mrs. Helen Percy as vocalist, gave his entertainment at the New Portland Hall, on the 31th ult., to a fashionable audience The illustrations, vocal and instrumental, were all most favourably received. Mr. Chatterton was encored in the 'Welsh Bardic Illustration,' and Mrs. Percy in ' The Fairies' Invitation,' and 'The last rose of summer.'"
The following is from Gosport:—