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THE ART-WORLD, AND INTERNATIONAL ExHibitor : a Weekly Illustrated Journal of Painting, Sculpture, Architecture Ornamental Art and Manufacture!, Engraving, Photography, Poetry, Music, the Drama, Ac. Edited by Henky Ottley, assisted by Writers or Eminence in the varlout departments of art,

,l Everywhere I see around me
Rise the wondrous World or Vt."— Long Fellow.

This Journal will give it faithful report of all the productions and doings in the whole circle of the Fine and Decorative Arts—Original Articles upon the History of Art, and the interests of Artists in their profession ; Reviews of New Books relating to Art and Belles-Lettret; besides a summary of the proceedings of Artistic and Learned Societies, Art Credits, Notes of Important Sales of Works of Art and Vertu, Correspondence, Ac, copiously illustrated in a novel style.

The tone of criticism in THE ART-WORLD will be candid and impartial ; intolerant of glaring error and presumptuous mediocrity ; generous and encouraging in every case where merit or promise is recognised.

The contents of the International Exhibition of 1862, coming within the scope of Fine or Decorative Art, will be amply described and illustrated in THE ARTWORLD. Each Number of THE ART-WORLD will contain thirty-two handsome pages, printed in the best style upon paper of a fine quality.

Published by S. H. Linoley, at the Office, 19 Catherine Street, Strand, where communications for the Editor, Advertisements, &c,'are to be addressed; awl by Kent & Co., Paternoster Ron-.

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The ANNUAL PERFORMANCE of Handel's MESSIAH will take place at St. James's Hall on Friday Evening, April 2*. to commence at 8 o'clock. ,

Principal Vocalists: Mad. I.kmuens-srerbington, Mad. Gl'errabblla.miss ElboKoba Wilbinson, and Mad. Wbisb, Miss Lascklles, and Mad. Sainton-dolby ; Mr. Wilbte Coopbk, Mr. Wifpin, Mr T. A. Wall Worth. Mr. Lewis Thomas, and Mr. W. H. Weibj. Principal violin, Mr. Willy; trumpet obbligato, Mr. T. Harper; organist, Mr. E. S. Hopkins. Conductor, W. S. Bennett, Mus. Dr. Tickets, 10s. 6d„ 5s., and 3s,; to be obtained at the Hall, and principal Musicsellers.


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MR. GEORGE HOGARTH, Secretary to the Philhar. monlc Society, begs to announce that he has Removed to No, 1 Bloomsbury Square, W.C.

MISS HELEN HOGARTH, Teacher of Singing, begs to announce that she has Removed to No. 1 Bloomsbury Square, W.C.

MR. L. PERUGINI, having been persuaded to spread his System of Instruction, has decided upon assembling a limited number of Pupils wll ling to dedicate themselves to the profession, and in whom, by means of a theoretical and practical course of special Instruction and sound traditions which he possesses, h - will be enabled to instil the results of his long professional experience, not only respecting Singing, but also as regards the development and Improvement of the Voice. Extraordinary vocal means are not so necessary a< perfect musical knowledge to Ladies and Gentlemen desirous of undertaking this career.

The Terms, which will be within every one's limits, will be verbally communicated upon application to Mr. L. P.

FINCHAM, Organ-pipe Maker, Voice, and Tuner,

> and the Trade Supplies at the Lowest Terms.

TO COMPOSERS ABOUT TO PUBLISH—J. H. JEWELL, Music Publisher, uudertak.es 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.

THE CECILIAN PITCH PIPE (a new invention), for the waistcoat pocket, Is superior to all others, being much more powerful In tone than any other at present In use—the pitch does not vary, whether sou tided Plane or Forte—Is easily repaired, or the pitch altered if required.

Price (any note) 3s. 6d. Post-free.
Boosby A Chino, 34 Holies Street. W. a


Price 2s. each,
'..J. H. JEiviii, 104 Great Rusicll Street.

ASHDOWN and PARRY (successors to Wessel and Co.) beg to inform the Profession that they forward Parcels on Sale upon receipt of references in town. Returns to be made at Midsummer and Christmas.

Their Catalogues, which contain a great variety of Music"" purposes, may be had, post-free, on application.

London t 16 Hanover Square.

ERNST PAUER'S Newest Composition, "Euryanthe." Transcription for Piano, Price 4s., post free for 21 sumps.

STEPHEN HELLER, Op. 98, Improvisata on Romance, by Schumann. Price 6i,, post free for 3tj .tamp*.

FARMER'S Premiere Valse Brillante Price 3s. 6d.
post free for 21 sumps. |
The above celebrated works are just published by Farmer & FnxniRui, 7 Grosrenor
Street, Bond Street, W. »

THE MUSICAL STUDENT'S MANUAL, Combining the Essential Elements of Musical Knowledge, with a succinct guide to the read lug of Vocal Music, by Thomas Morse, Editor of the "Golden Wreath," "New Tunes to Choice Words," &c.

Div. I Relating to Sound, pp. 136, price 2s. ...

Dn. II.—On Rhythm, to complete the Work, will be published shortly. The " Manual " is used as a text-book at the Borough Road, Stockwoli and Westminster Training Colleges,

"One of the best elementary books for learning music, as a science, that we hare 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 Bvo, Is. Gd.

"So widely known and prized in schools,"— Educational Record,

Messrs. Boosry & Sons, 29 Holies Street, W.; Messrs.;Groousridgs & Sons, Paternoster Row.

PREMIERE TARANTELLE, pour PIANO, par BRINLEY RICHARDS. Price 6s. "Among the many admirable compositions for the pianoforte which Mr. Brinley Richards has given to the world, we are inclined to give the highest place to his * Tau rantclle,' as being not only the most elaborate, highly finished, and masterly work that he has yet produced, but as being one of the finest specimens of a very difficult description of music that we have met with. We need not tell our musical readers that the 1 Tarantclle ' Is the Neapolitan dance of the most rapid kind, and that the national tunes which are used in accompanying its movements have suggested to composers a species of composition of similar rhythm and impetuous character. Many celebrated composers have written ' Tarantelles,' but few such works have been published in England. Among those known to our public the best are the Tarantelles of Moscheles, Chopin, and Stephen Heller. The great difficulty which the composer has to encounter in writing a piece of this kind, arises from the peculiarity of its character and rhythm. It must be intensely Neapolitan; and its rapid whirl must place, as it were, the dancing lazzaroni before our eyes. To preserve this general character, and at the same time to achieve novelty ana originality, demands great ingenuity, invention, and command over the technical resources of the art. Mr. Richards has entirely succeeded in this arduous task. He has taken ft simple Neapolitan phrase of a couple of bars, such as those which are played by the Calabrlan Plifferari; this phrase is heard without intermission from the beginning to the end of a long piece; and yet it is treated so skilfully, introduced by such a variety of modulations, combined with so many different accompaniments, forming sometimes one part of the harmony and sometimes another, rushing on all the while with unabated impetuosity and fire, that the attention and interest of the listener never flags for a moment, but keep constantly rising to the brilliant climax with which the piece concludes. A work so highly artistic is, perhaps, not calculated to become so popular as music of a slighter construction might be, though works are now becoming popular which a few years ago would have been ' caviare to the general,' and within the reach only of the educated few; but there are many among our amateurs who are capable of appreciating and enjoying the beauties of this tine work a

work which entitles Mr. Richards to a place in the first rank of the pianoforte composers of the day ."—Illustrated London News, April 5, 18G2.

WARBLINGS at EVE, Romance for the Pianoforte, par BRINLEY RICHARDS. Solo 2s. 6d.; Duet, 3s. M The style and expression of Mr. Richards' Romance, 'Warbllngs at Eve,' are indicated by the motto prefixed to it : —

1 Oh nightingale that on yon bloomy spray Warblest at eve when all the woods are still.' It is a charming piece, redolent of the freshness and quiet of R lovely summer's evening. The stillness of the woods is beautifully contrasted with the note of the nightingale, which Mr. Rlchai ds, correcting a com iron error in natural history, has represented as cheerful and brilliant, and has imitated by passages of the most florid kind. Altogether this is a very happy piece of descriptive music." Illustrated London News, April 5, 1862.

THE CHEAP HAND-BOOKS for the ORATORIOS, Ac—The originators of the TWO-SHILLING HAND-BOOKS, were Messrs. Robert Cocks and Co., who,ln order to provide the public with an arrangement worthy of the immortal works themselves, and at a price accessible to the nrt-awakened million, published their celebrated folio editions by John Bishop, in the form of octavo and at the price of 2s. each. These editions are unrivalled. Apply for lists and specimen pages (of 21 oratorios, &c, already issued) to Robert Cocks and Co., New Burlington Street, and No. 4 Hanover Square, W., publishers to the Queen.






ACT L *. d.


SONG—A bachelor's life, (Hardness) « - - 2 6 DUET—The moon has raised the lamp above. (Hardress

and Danny Mann) - - - - - 2 6

SONG—The above arranged as a song - - - 2 0

SONG—It is a charming girl I love. (Myles.) In B flat and in A 2 6

SONG — In my wild mountain valley. (Eily.) In D and C minor 2 6

SONG, with CHORUS, ad lib.—The Cruiskeen Lawn - - 2 6


CHORUS—The Hunting Chorus - - - - 3 6

AIR and DUET—Theeye of love iskeen. (A. Chute & Hardress) 4 0

SCENA—A lowly peasant girl. (Danny Mann) - - 3 6

ROMANCE (separately)—The Colleen Bawn. (Danny Mann) 2 6

BALLAD—I'm alone. (Eily.) In E flat and in C - - 2 6

DUET—I give the best advice. (Eily and Myles) - - 4 0


SONG—The Lullaby. (Myles). In A and in F - - 2 6 TRIO—Blessings on that rev'rend head. (Eily, Myles and

Father Tom.) In D and in D flat - - - 3 0

DUET—Let the mystic orange flowers. (For two equal voices) 2 6

BALLAD—Eily Mavournecn. (Hardness). In F and in D - 2 6

RONDO FINALE—By sorrow tried severely. (Eily) - 2 6


The Overture. Arranged by the Author - - - 4 0

The Favourite Ants. In two Books. W. H. Callcott - 5 0

Ditto. As Duets. In two Books. W. H. Callcott - - 6 0 ■

The Favourite Airs. Iu two Books Franz Nava - - 5 0

Ditto. As Duets. In two Books. Franz Nava - -60

Set Of Quadrilles. Charles Coote - - > - 4 0

Ditto. As Ducts - - - - - -40

Set Of Quadrilles. "The Cruiskeen Lawn." Pierre Laroche.

Illustrated by Brandard - - - - - 4 0

Waltz. "Eily Mavournecn." Chas. Coote. Illus. by Brandard 4 0

Set Of Waltzes. Pierre Laroche. Illustrated by Brandard - 4 0

Galop. Pierre Laroche - - - - - 2 6

Brinley Richards, "Eily Mavournecn" . -30

„ "I'm alone" - - - - 3 0

„ "It is a charming girl I love" - - 3 0

„ "The Cruiskeen Lawn" - ..30

Kohe. Fantasia on favourite Airs - - • .40

„ Grand Waltz - - - - 4 0

G. A. Osborne. Fantasia on favourite Airs - - - 3 6

„ "Ricordanza" - - - -36

Goodban, H. W. ' Serenade, " The moon has raised" - -30

Madame On; V. Fantasia on favourite Airs - - -40

Lindsay Sloper. Fantasia on favourite Airs - - - 4 0 Rimbault. Six favourite Airs, easily arranged :—

No. 1. "In my wild mountain valley" - - - 1 0

2. "The Lullaby" - - - - - 1 0

3. "It is a charming girl I love" - - - 1 6

4. "Eily Mavonrneen" - - - - - 1 O

5. "I'm alone" - - - - - - 1 O

6. "The Colleen Bawn" - - - - 1 O


u Our Memories of the Past"—Canzone—poetry by Parker Margetson, Esq.; Music by Thomas H. Severn (Robert Cocks & Co).

A graceful little song, the melody flowing and tuneful, the accompaniment neat and finished without pretension. Any singer might do worse than take it up, especially as a ballad for the drawing-room.

"Two German Songs,"—" Only Thou Everywhere," and "The Imprisoned Songster;" "Select Pianoforte Compositions;" No. 2, "Mazurka;" No. 3, "Nuits a Kapoli;" No. 4, " War Marches;" No. 5, " Valse Caprice;" No. 6, "Three Lyrical Sketches;" No. 11, "Andante in E flat, with Variations." William Vipond Barry (Author).

It is a pity to find so much serious purpose, and indeed so much apparent talent wasted, as in the above pieces. Not only does Mr. William Vipond Barry carefully imitate all the worst mannerisms of Schumann, but he joins issue with Herr Wagner in denying " the tyranny of the tone families." It would be useless entering into a minute analysis of such music as he produces (if we have here specimens, as we presume to be the case, of his adopted method of writing); first, because to convince one so hopelessly wandering in the wrong path would be impossible; and secondly because it would take up an entire number of The Musical World to cite even half the objectionable points we could name. The third of the "Nuits de Napoli," a tarantella, entitled "La Danza," has a second theme, the melody of which is unaffected, new and charming :—

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And yet, notwithstanding these offences against pure harmony and good taste, we have an innate conviction that there is something in Mr. William Vipond Barry, which he himself will not allow spontaneously to come out. The counsel we can honestly offer him is to abandon Schumann, and take Mozart for a model. If he is unprepared for this sacrifice we advise him hereafter to write invariably in unison.

"The Soldier's Death Song,"—words by Captain EdgeWorth; music by Richard L. Edgeworth, Esq. (Marcus Moses, Dublin). This patriotic, or national song, or both patriotic and national song, is, we may suppose, the joint production of father and son. Richard Lovell Edgeworth, author of the words, and brother of the celebrated Maria, we shall allow to speak for himself:—

"Mother, cease this sad repining.

Sister, soothe that anxious breast,
For, in glory's arms reclining,

Erin's soldier sinks to rest.
Never more, of beauty's weaving,

Garlands gay will deck this brow;
Cease, my Nellie, cease from grieving —

Fame's green laurels crown me now.

"Am I dreaming? am I dying?

Do 1 hear the village bell?
Softly tolling, as if sighing

From afar a long farewelL
Fainter, fainter, grows that pealing;

Brighter, brighter dawns the view;
Past is every earthly feeling—

Glory, mother, love, adieu 1"

These words have been set with appropriate sentiment by the gallant Captain, who is apparently an adept at Music no less than at arms. The tune, if not exactly Irish, is simple and expressive, and the accompaniment natural and without the least attempt at fine writing.

"To dream of Thee" — Ballad — words and music by

George Croal (Cramer, Beale & Wood). The words of this little song reveal a nice ear for rhythm and verse, the music both a vein of melody and a taste for harmony.

"On Thee my heart is always fondly dreaming "—Words

by George Linlet; Music by Gordigiani. The melody (neatly accompanied, as was invariably the case with the late Sig. Gordigiani) has all the Tuscan flavor, and the words of Mr. Linley fit it exactly. The song is in every sense good.

"The Juvenile Pianoforte Album "—(Boosey & Sons). Here is "a shilling's worth," as tempting as a plum cake! Twenty of the most popular songs of the day — Italian, English, Irish, French and "Christy," arranged and fingered so as to suit the means, and accommodate the capacity of the youngest and least experienced of pianoforte players, boys and girls (men and women, we think we may add, considering the vast multitude of amateurs in these isles, who are but little skilled to perform music of any degree of difficulty).

"Bonnie Scotland" — composed by William Bridges

(Cramer, Beale & Wood). The title-page of this ballad (a fervid apostrophe to "Caledonia stern and wild meet nurse for a poetic child") is adorned with a coloured lithograph of Walter Scott's monument in Prince's Street (so called in honour of the visit from the "Prince Regent," afterwards King Regent, George IV.), Edinburgh.


(From our own Correspondent)

How many times a day, on the average, is the old quotation about "tmijours perdrix," despite tho moral it contains, employed by writers on the periodical press of England? How many times has it been already so employed? How many times will it still be so employed? To establish more triumphantly my point (for I may as well inform you there it a point in these introductory lines, which is certainly more than can always be asserted truthfully of all the articles which appear

in the well, never mind the name of the paper; I do not desire to

offend either the editor or my fellow-contributors)—to establish, I repeat, more triumphantly my point, with which I mean shortly to pierce the dullest intelligence, I will simply observe, with regard to tho above questions, that Echo, according to her wont, for as long as I con remember, answers, "Where?" an answer which, with all due respect for established prejudices, I humbly opine to bo a question. Again ; I suppose you will not deny that, however tired wo may become of "perdrix," constant consumption never produces in us a loathing for bread. Now — and hero comes the point I wish to establish — it is in literature as it is in life. Just as there are certain edibles that never pall, so there are certain jokes, puns and quotations that never weary. The public not only forgive their introduction on all possible occasions, but go still further—they expect it. What are the lines which tell best on the stage ?—those which the critics and the few other intelligent people who may sometimes be found among the audience pronounce worthy of approbation? Not a bit of it. The lines which, to speak in theatrical language, theatrically, "bring down the house" are those which contain some trite joke, which has been familiar to all who hear it as far back as their memory will carry them. And does not tho same hold good of conversation? Woe, woe, to him who, desirous of achieving a reputation as a conversationalist, disdains to avail himself of some ancient repartee, because he fancies it is too well known and too apparent! Precisely because it is well known, it will be greeted as a valued friend, and, because it is apparent, some one will be sure to use it, and thus score " a hit, a palpable hit," against his more scrupulous companion. Now, after the incontrovertible principle laid down in this preamble, I should be perfectly justified, in my present letter, were I, taking into consideration the state of affairs at Berlin at this moment, to stale playfully that," though harmony was banished from the political circles of tho above capital, it still retained its accustomed influence in the concert-room, and that," etc, etc. But, as I am strong, so will I be merciful. I will, therefore, refrain from taking advantage of my power, on condition that none of my coliaborateurs in the Musical World be allowed to use the subject. It is a mine of wit, a Journalistic British Columbia, I know; and, if anyone works it out, I claim the right to do so. Having given this warning, I will proceed, as usual, to inform you what we are doing, in the way of music, on the banks of the Spree.

On account of the continued indisposition of Herr Kriiger, Auber's Muette was substituted for Die Zauber/lote. Tho fact of this event having been unexpected, may, perhaps, with some persons, be accepted as an excuse for the mediocrity of the performance. I purposely say, "with some persons," for I myself would not accept such an excuse. The Royal Opera House is largely subsidised by the Government; it is

the first establishment of the kind in Prussia; its company is imagined by the Prussians to be the beau ideal of an operatic company, and yet such a work as La Muette was given in a style which would disgrace a strolling' troupe. It is no palliation of the offence to say that the various artists were taken by surprise—they ought not to have been taken by surprise. Auber's fine opera is no mere ephemeral work, but one of sterling merit, and all the members of the company of the Royal Opera House, Berlin, ought to be acquainted with every note in it, from beginningto end; and, if they are not, they should forbear giving it at all, until they are. The only persons not deserving of blame were Mile. Forti, as Fcnclla ; Mad. Horriers-Wippern, as the Princess, and the members of the band, under the direction of Herr Taubcrt. Every one else, however, was execrable, especially HerrWoworski, whose Mosaniello did not present one redeeming point. The chorus were inattentive and idle, though, it is true, they woke up in the prayer a capella, which they sang magnificently. Mozart's Titus has been selected for the grand gala performance on the 22nd inst., in honour of the King's birthday. Let us trust that the artists of the Royal Opera House will pay more respect to the work of Mozart than they did to that of poor Auber.

The fourth Soiree of the Royal Domchor consisted entirely of vocal music, tho place of the instrumental pieces being supplied by vocal solos. Mile. Base sang Mendelssohn's beautiful Hymn for soprano very agreeably. Herr Geyer, also, sang several solos effectively. The execution of the motets and chorales for mixed voices was superb, and afforded fresh proof—though fresh proof is not needed—of the great care and profound acquirements of the present director, Herr von Hertzberg. This gentleman is plainly resolved not to allow the institution to fall off one iota from the excellence to which it attained under its former director, but, rather, to raise it even still higher than it stands at present.

The fourth Soiree of tho admirable concerts given by Herren Zimmermann and Stahlknccht brought their season to the close. The only fault I can bring against these gentlemen is that their season was too short—far too short; and I should almost feel inclined to skip, were such a feat possible, over the coming summer, and brave all the inconveniences of a Berlin winter, merely to have the pleasure of again hearing, without delay, such music as they gave us, performed as they performed it. Why, oh, why, cannot some one waft me, together with Herren Zimmermann, Stahlknccht and company, into the year 1H63, just as several highly respectable persons, in various grades of life, have, at various times, to my certain knowledge, sent other respectable persons into the middle of next week? I say "to my certain knowledge," for I cannot suppose that the contingencies on which alone depended their not doing as they asserted they would do, always turned out in such a way as to induce them to alter their purpose. Yes! It must be so. Individuals have been sent into the middle of next week — there is no doubt about it. Why, then, by an extension of a process, already evidently well known, cannot I, together with Herren Zimmermann Stahlknccht and company, be transported into the year 1863? But perhaps, Herren Zimmermann, Stahlknccht and company might not like the idea. They might say that they have accepted engagements for the present summer. This, I think, considering their well-known merit and great popularity, is more than probable. I will, therefore, abandon my notion about a short cut to the Future —the more readily, by the way, because, were I to proceed thither along any but the regular path, I might be exposed to the risk of hearing more music a la Wagner than I could desire — and be content to reach it as I have always been accustomed to do. En attendant, I may stato that the gem of the last Soiree was Beethoven's Septet. A great treat, also, was afforded by a magnificent performance of Herr Taubert's trio in F, Op. 32.

Herr Radecko is another gentleman of undoubted ability, who has brought an interesting series of concerts to a close for the season. His programmes were invariably most interesting, if only on account of the endless variety which distinguished them. For him, no composition was too old and none too modern, several works, previously altogether new to a Berlin audience, having first been performed here under his direction. That the execution was not always on a par with the good intentions of the concert-giver is a circumstance which should excite no surprise, when we reflect what an endless amount of trouble must be needed to drill an orchestra hired for the occasion into performing satisfactorily it difficult score. It must be borne in mind that the rehearsals are inevitably limited both in number and duration; and as long as a musician does not possess an orchestra selected and educated by himself, he can never hope to rival the performance of long established musical institutions, which enjoy advantages entirely beyond his reach. For these reasons, among others. I am not inclined to measure HCerr Radccke's Concerts by too high a standard, and consequently can speak favourably of the execution of a tragic overture by R. Radccke, and, of Beethoven's Ninth Symphony, although the occasional uncertainty of the vocal solos in the last-named work was exceedingly provoking, and contrasted disadvantngeonsly with what I had previously heard at the same concerts. Herr Ehrlich, tho well-known musical author and composer, who is, at present, stopping in this capital, played Beethoven's pianoforte Concerto in G major with great feeling and power. He was loudly applauded at the conclusion. Altogether, Herr Radeckc may fairly congratulate himself on the last concert of his series having been fully equal, if not superior, to its predecessors.

A Musical Matinee, for a charitable purpose, attracted a very large and fashionable audience to the Singacademie, on the 16th—for how could Charity fail to attract, when holding in her hand a programme on which were printed, in conspicuous characters, the names of such artists as Ristori, Desiree Artot and Dawison? Nor was the number of those who came forward with the offer of their services in the good cause limited to the trio of celebrities just mentioned. Others there were, by no means contemptible in their way, although their names may not yet have become

"Familiar in our mouths as household words." *

The principal feature of the entertainment was the recital of various favourite selections and pieces by Mad. Ristori and Herr Dawison. The latter recited Gaudy's " Harpe," and Freiligrath's "Blumcnrachc," with a most effective melodramatic instrumental accompaniment by Herr von Flotow. In the way of music, Mile. Artot song, I need hardly say how— and, therefore, I will not—the Rondo from La Cenerentola; and Mad. Exriebcn, a lady hitherto unknown, gave the grand air of revenge belonging to the Queen of Night in Die ZauberflSte. She gave it, moreover, in the original key, and succeeded in singing the highest notes with purity and apparent ease ; but her style, however, was aught but pleasing. Herr Fricke sang Lowe's " Uhren-Allegoria ;" and Herr Ganz, as well as Herr Wolff, from Frankfort-on-thc-Mainc, played some instrumental pieces.

Herr J. Bolt, conductor at the Court Theatre, Mciningen, has arrived, for the purpose of superintending the last few rehearsals of his opera, Actaa, which will very shortly be produced. At Kroll's Theatre, there will be Italian opera until the 15th of next month. The season began on the 22nd inst,,but, as yet, I have not attended any of the performances, nor have I spoken to any of my friends about them, so that I cannot say whether they are good, bad, or indifferent. All I know, thanks to the announcements in the public prints, is that the company is under the direction of Sig. Achille Grafigna, and consists of the undermentioned members :—Soprano, Signora Carolina Merea, who, if report speaks truth, has made a great sensation in Barcelona, Turin, Milan, and — America (the latter is rather a large place, but no matter) i Contralto, Signora Veralti (Florence, Rome, Turin) j Tenor, Sig. Butterini (Milan,Turin) ; Barytone, Sig. Brnndini (Florence,Rome, Turin, Milan) ; Buffo, Sig. Penso (Naples, Milan, Florence); and Basso, Sig. Bagagiolo (Milan, Turin).

I am now off to a private quartet Soiree, where I ought to have been at seven o'clock, and it is now a quarter to eight, so I have not much time to spare, for I always like to be punctual—as you yourself do. Till next week, therefore, or, mayhap, the week after,




(from the " Observer.") "The concert of last Monday evening was chiefly remarkable for its pianoforte playing. It was announced to be for the benefit of Miss Arabella Goddard, whose extraordinary ability has been so frequently demonstrated at these meetings. The attendance was the largest that has yet been witnessed. St. James's Hall was crowded throughout — the preserves and the cheaper districts alike. To the lady in question much of the success of the Monday Popular Concerts may be attributed, for whatever novelty the programmes have presented in the realms of pianoforte composition, has been at her instance, as her revivals of Dussek and Woelfl, and the latter sonatas of Beethoven, loudly testify. The scheme of Monday night, as regards the instrument especially concerned, contained one of the last mentioned works (the famous op. IIL, in C minor), Bach's prelude and fugue 'Alia Turentella,' and the 'Krcntzer' Sonata. Miss Goddard acquitted herself with her usual exquisite skill. Her reading of the magnificent sonata of Beethoven is well known. Her delivery of this colossal work borders on the marvellous. The last of the scries written by Beethoven, and belonging to the group which, until lately, has been avoided by pianists, it presents an accumulation of most embarrassing difficulties. To unravel them

simply would be no ordinary feat, but to endow them with light and poetry is to do something hitherto unachieved. The introduction, so picturesque and dignified, leads to the most brilliant of allegros, which eventually gives place to a slow movement, the tender and mournful beauty of which is not exceeded in interest by any of the numerous episodes of Beethoven of the same class. The variations which follow upon this most gentle and expressive of themes are fraught with originality, the delicate placidity of the first gradually giving way to more impetuous figures, until the canvas becomes crowded with those passionate and restless fnncies, characteristic in the last degree of the composer. To the discursive flights for both hands, so replete with fairy gaiety and sparkle, Miss Goddard by her close and pearly execution imparted a grace peculiarly her own, a specimen of double scale playing—to look at it from a more prosaic point of view—as faultlessly exact as it was sweepingly rapid. The sonata, in a word, come forth, under her magic touch, as clear and shapcable — to use a homely word

— as if it were of the simplest manufacture, instead of a combination of the most recherche idealities, fruitful and prodigal in change, and as Inconvenient for the player, as a writer as indifferent to comfort as to capability could make it. Bach's prelude and fugue were performed at the last Philharmonic concert by Miss Goddard with an effect that was reproduced now. Nothing, as before, could surpass her delineation of the symmetrical progressions of the old master, her interpretation of the three-part fugue being one of those marvels of crisp and independent fingering, and precision of touch, with which we only occasionally meet. How Miss Goddard plays the 'Krcutzcr' Sonata is well known. In the present instance she was associated with Herr Joachim."

(From the "Morning Herald.") "The last concert before Easter was given on Monday night, being for the benefit of Miss Arabella Goddard, who, we need hardly say, more than any other artist, has contributed by her magnificent talent to bring these entertainments to the unprecedented popularity they have now reached. That the public were of that opinion was proved by the enormous crowd which attended. The selection was admirable. The pianoforte pieces were Beethoven's sonata in C minor, op. Ill (his last): Sebastian Bach's prelude and fugue, 'alia Tarantella,' in A minor ; and the 'Kreutzer' Sonata of Beethoven, for pianoforte and violin. These pieces not merely demand the highest powers of execution—and indeed the sonata solus and the prelude and fugue nre altogether beyond the means of any except the most accomplished players—but necessitate the command of every style and expression. Beethoven's op. Ill—which, we believe, except by Miss Goddard, had never been attempted in public in this country until last year, when Mr. Charles Halle, lis a matter of course, played it in his series of performances of the entire sonatas of Beethoven—is not only one of the most difficult ever written, but one of the most profoundly poetical. To conceive and master such a composition is the grandest triumph of the pianist; and never did Miss Goddard in a more unmistakeable manner vindicate her title to be ranked among the most consummate artists living than on Monday night, by her matchless performance of that gigantic musical epic. The prelude and fugue of Bach were repeatedby especial desire, not merely from the sensation they created on a former occasion at the Monday Popular Concerts, but from their enthusiastic reception more recently at the Philharmonic Concerts. In the magnificent 'Kreutzer' sonata, Miss Goddard enjoyed the co-operation of Herr Joachim j and the performance, we need hardly say, was transcendent from beginning to end. Altogether the concert was one of the most thoroughly gratifying and interesting that has been given under the direction of Mr. Arthur Chappell, and, with very few exceptions, detained in their seats the immense audience that filled the St. James's Hall until the echoes of the last notes of the Krcutzcr sonata had died away in the acclamations with which it was greeted."

(From " The Times") ".The performances yesterday evening (at the 81st concert) were for the benefit of Miss Arabella Goddard, who made her last appearance for the present season. Since the Monday Popular Concerts, now so firmly established in public favour, were originally instituted, Miss Goddard has been one of their chief and most constant supporters. When they were looked upon as a mere experiment, and Mr. Arthur Chappell

— who, by indefatigable research and industry, has succeeded in conducting them to so prosperous an issue — was fairly puzzled how to construct his programmes, so as not to tax too severely what was then, reasonably enough, considered the but slenderly cultivated taste of his audiences, she was the earliest to come forward, in a true spirit of chivalrous enterprise (love of art being her sole mouitor), with works such as the later compositions of Beethoven, certain resuscitations of Dussek, and others even less known to the present race of amateurs—

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