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NEW BALLADS by OWEN HOPE. "AH! SAY ART THE LILY OF KILLARNEY,

THOU DREAMING." "CONSTANCY."

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and Danny Mann)

THE
THE MUSICAL STUDENT'S MANUAL, Combining SONG-The above arranged as a song

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, 1s. 6d.

"So widely known and prized in schools."-Educational Record,

Messrs. BOOSEY & SONS, 28 Holles Street, W.; Messrs. GROOMBRIDGE & SONS, Paternoster Row.

PREMIERE TARANTELLE, pour PIANO, par

RICHARDS. Price 5s.

"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 Tarantelle,' 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 Tarantelle' is a 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 and 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 a simple Neapolitan phrase of a couple of bars, such as those which are played by the Calabrian Pfifferari; 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 flag 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 fine 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, 1862.

W

(Hardress

SONG-It is a charming girl I love. (Myles.) In B flat and in A
SONG-In my wild mountain valley. (Eily.) In D and C minor
SONG, with CHORUS, ad lib.-The Cruiskeen Lawn

ACT II.

CHORUS-The Hunting Chorus

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AIR and DUET-The eye of love is keen. (A. Chute & Hardress)
SCENA-A lowly peasant girl. (Danny Mann)
ROMANCE (separately)-The Colleen Bawn. (Danny Mann) 2
BALLAD-I'm alone. (Eily.) In E flat and in C
DUET-I give the best advice. (Eily and Myles)

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SONG The Lullaby. (Myles). In A and in F
TRIO-Blessings on that rev'rend head. (Eily, Myles and
Father Tom.) In D and in D flat
DUET-Let the mystic orange flowers. (For two equal voices) 2
BALLAD-Eily Mavourneen. (Hardress). In F and in D
RONDO FINALE-By sorrow tried severely. (Eily)

PIANOFORTE ARRANGEMENTS.

THE OVERTURE. Arranged by the Author

THE FAVOURITE AIRS. In two Books. W. H. Callcott
DITTO. AS Duets. In two Books. W. H. Callcott
THE FAVOURITE AIRS. In two Books. Franz Nava
DITTO. As Duets. In two Books. Franz Nava
SET OF QUADRILLES. Charles Coote
DITTO. As Duets

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SET OF QUADRILLES. "The Cruiskeen Lawn." Pierre Laroche.
Illustrated by Brandard

WALTZ. "Eily Mavourneen." Chas. Coote. Illus. by Brandard
SET OF WALTZES. Pierre Laroche. Illustrated by Brandard
GALOP. Pierre Laroche
BRINLEY RICHARDS,

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Eily Mavourneen" "I'm alone"

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KUHE. Fantasia on favourite Airs
Grand Waltz

ARBLINGS at EVE, Romance for the Pianoforte, G." A. OSBORNE. Fantasia on favourite Airs

par BRINLEY RICHARDS. Solo 2s. 6d.; Duet, 3s.
"The style and expression of Mr. Richards' Romance, 'Warblings at Eve,' are in-
dicated by the motto prefixed to it:-

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 a lovely summer's evening.
The stillness of the woods is beautifully contrasted with the note of the nightingale,
which Mr. Richards, correcting a common 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, THE

&c.-The originators of the TWO-SHILLING HAND-BOOKS, were Messrs. ROBERT COCKS and Co., who, in order to provide the public with an arrangement worthy of the immortal works themselves, and at a price accessible to the art-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.

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Reviews.

"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 à Napoli;" 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:

The rest, unfortunately, despite a certain show of spirit, and a fluency which seems to spring from recklessness rather than from natural ease, is not to match. Such progressions as the following :—

-and the following:

are frequent. Here too (at the expense of the unoffending melody we have cited) is an example of how a pedale can be got rid, and a modulation effected simultaneously:

mony

And yet, notwithstanding these offences against pure haris something in Mr. William Vipond Barry, which he himself and good taste, we have an innate conviction that there 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 I 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!"

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 LINLEY; 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).

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MUSIC IN BERLIN.

(From our own Correspondent.)

-

How many times a day, on the average, is the old quotation about "toujours perdrix," despite the 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 is 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 the above questions, that Echo, according to her wont, for as long as I can remember, answers, "Where?" an answer which, with all due respect for established prejudices, I humbly opine to be a question. Again, I suppose you will not deny that, however tired we may become of "perdrix," constant consumption never produces in us a loathing for bread. Now and here 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 the 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 state playfully that, "though harmony was banished from the political circles of the 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 collaborateurs 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 Krüger, Auber's Muette was substituted for Die Zauberflöte. The 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 idéal 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 beginning to end; and, if they are not, they should forbear giving it at all, until they are. The only persons not deserving of blame were Mlle. Forti, as Fenella; Mad. Harriers-Wippern, as the Princess, and the members of the band, under the direction of Herr Taubert. Every one else, however, was execrable, especially Herr Woworski, whose Masaniello did not present one redeeming point. The chorus were inattentive and idle, though, it is true, they woke up in the prayer à 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 Soirée of the Royal Domchor consisted entirely of vocal music, the place of the instrumental pieces being supplied by vocal solos. Mlle. Hase 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 pre

sent.

The fourth Soirée of the admirable concerts given by Herren Zimmermann and Stahlknecht brought their season to a 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, Stahlknecht and company, into the year 1863, 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 Stahlknecht and company, be transported into the year 1863? But perhaps, Herren Zimmermann, Stahlknecht 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 à la Wagner than I could desire- and be content to reach it as I have always been accustomed to do. En attendant, I may state that the gem of the last Soirée was Beethoven's Septet. A great treat, also, was afforded by a magnificent performance of Herr Taubert's trio in F, Op. 32.

Herr Radecke 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 a 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 performances of long established musical institutions, which enjoy advantages entirely beyond his reach. For these reasons, among others, I am not inclined to measure Herr Radecke's Concerts by too high a standard, and consequently can speak favourably of the execution of a tragic overture by R. Radecke, and of

Beethoven's Ninth Symphony, although the occasional uncertainty of the vocal solos in the last-named work was exceedingly provoking, and contrasted disadvantageously with what I had previously heard at the same concerts. Herr Ehrlich, the 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 Radecke may fairly congratulate himself on the last concert of his series having been fully equal, if not superior, to its predecessors.

A Musical Matinée, 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, Desirée Artôt 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 "Blumenrache," with a most effective melodramatic instrumental accompaniment by Herr von Flotow. In the way of music, Mlle. Artôt sang, I need hardly say howand, therefore, I will not-the Rondo from La Cenerentola; and Mad. Exrleben, a lady hitherto unknown, gave the grand air of revenge belonging to the Queen of Night in Die Zauberflöte. 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 Löwe's "Uhren-Allegoria ;" and Herr Ganz, as well as Herr Wolff, from Frankfort-on-the-Maine, played some instrumental pieces.

Herr J. Bott, conductor at the Court Theatre, Meiningen, has arrived, for the purpose of superintending the last few rehearsals of his opera, Actäa, 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); Contralto, Signora Veralti (Florence, Rome, Turin); Tenor, Sig. Butterini (Milan, Turin); Barytone, Sig. Brandini (Florence, Rome, Turin, Milan); Buffo, Sig. Penso (Naples, Milan, Florence); and Basso, Sig. Bagagiolo (Milan, Turin).

I am now off to a private quartet Soirée, 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,

MONDAY POPULAR CONCERTS.

MISS ARABELLA GODDARD'S BENEFIT. (From the "Observer.")

VALE.

"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. III, in C minor), Bach's prelude and fugue Alla Tarentella,' and the 'Kreutzer' 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 series 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 fancies, 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, came 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 recherché 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 How Miss Goddard plays the 'Kreutzer' Sonata is well known. In the present instance she was associated with Herr Joachim." (From the "Morning Herald.")

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"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. 111 (his last); Sebastian Bach's prelude and fugue, 'alla 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 are altogether beyond the means of any except the most accomplished players-but necessitate the command of every style and expression. Beethoven's op. 111-which, we believe, except by Miss Goddard, had never been attempted in public in this country until last year, when Mr. Charles Hallé, as 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 poctical. 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 repeated by 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; 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 Kreutzer sonata had died away in the acclamatiens 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 monitor), 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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the preludes and fugues of Handel, John Sebastian Bach, &c. That her faith in the beautiful was speedily appreciated, and the music it was her honourable task to 'revive' as speedily accepted with a warmth, too, and unanimity proportioned to its value-is now matter of history. She had previously done something for the good cause at her own soirées; and the wider field offered to her by the Monday Popular Concerts, where her audiences counted by thousands, instead of by hundreds, became merely an incentive to proceed with redoubled zeal in the same legitimate direction. Thus, by those who appreciate the excellent and healthy tendency of these entertainments which have done more than any others to make the London public honestly musical—she has always been identified with their progress, and it was not surprising that the first concert given under her own name should excite more than usual curiosity and attention. The room, indeed, was literally thronged. The stalls were invaded by a crowd of fashion,' whose carriages might have been seen lining Regent Street, from the northern Circus to the entrance of St. James's Hall; while the balconies, galleries and orchestra, were densely packed by those genuine lovers of music who from the beginning have mainly contributed to the success of the Monday Popular Concerts. The selection provided by Miss Goddard for this to her important and interesting occasion was as follows:

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Haydn.
Schubert.
Mendelssohn.
Beethoven.

Bach.
Benedict.

Beethoven.

"The quartet was nobly represented by Herr Joachim, Herr Ries, Mr. H. Webb, and Mr. Paque. One of the most cheerful as well as one of the most masterly of Haydn, it could not fail to please. The pianoforte sonata was the 32nd and last composed by Beethoven, for the instrument he loved so well, and which, by his wonderful genius, he raised almost to the dignity of the orchestra. This, the Prelude and Fugue alla Tarantella of Bach, and the sonata dedicated to Kreutzer, had all been heard before from the same fingers; and it is therefore enough to add that, in each instance as, under the circumstances, might naturally have been expected Miss Goddard played her very best, in the famous Kreutzer' deriving an inestimable advantage from the co-operation of Herr Joachim, who, in the sonata of Beethoven as in the quartet of Haydn, exhibited the highest qualities of his unrivalled talent.

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"The vocal music was remarkably well given by Miss Clari Fraser, who was heard to most advantage in the genial specimen from Mr. W. Chappell's Popular Music of the Olden Time, and Mr. Tennant, who obtained a well deserved encore in the charming ballad from the Lily of Killarney, Mr. Benedict himself being the accompanist. At the next concert announced for Easter Monday- Mr. Charles Hallé is to play the Sonata Patetica of Beethoven, and the Kreutzer,' 'the latter with Herr Joachim, who is also set down for Bach's Chaconne, which recently created such a veritable furore."

PHILHARMONIC CONCERTS.

The sym

THE third concert was equal in excellence to either of its predecessors,
and was attended by such an audience as made the old Hanover Square
Rooms (now so pleasantly re-decorated) look as gay and brilliant as at
any period of their long and musically interesting career.
phonies were by Haydn and Beethoven. It was delightful to hear the
ever fresh and melodious work of Haydn (known to amateurs as
"Letter T")—the first of three grand symphonies in the key of E flat,
the best of which seems always the one to which we are immediately
listening and more especially to hear it played con amore, so thoroughly
in the spirit of the composer, as was the case on Monday night, when
the fine orchestra, over which Professor Sterndale Bennett presides with
such ability, exhibited a vigour, precision, and unanimity that reflected
honour alike on themselves and their conductor. The Beethoven sym-
phony was the colossal "No. 7" (in A major), a work which its second
movement that mysterious "rêverie" in the minor mode, with such
seeming inconsistency marked "allegretto "—would alone have immor-
talised, if happily each of its other parts had not been equally a chef
d'œuvre. The overtures were Mendelssohn's passionate Ruy Blas, and
Auber's stirring and splendid Masaniello (both given to perfection).
Ruy Blas cannot be heard too often; and Masaniello would bear more
frequent hearings than it has hitherto obtained at these concerts, where
we are glad to observe the pedantic and hurtful exclusiveness which in
former times refused admission to the picturesque orchestral preludes of
Rossini and Auber gradually fading into disuse. Such overtures as
Masaniello and Guillaume Tell would do honour to any concert, however

"classical." The "lion" of the evening was Herr Joachim, who played twice, and in each instance created a sensation almost without parallel. The first performance of this "Emperor of Fiddlers" was Herr Molique's admirable concerto in D minor, a work that will, in all probability, survive as long as the instrument for which it was composed. Every movement of this concerto-as all amateurs of the violin are aware-is masterly; but the last-a rondo full of capricious traits, piquant, fanciful, and (despite the affinity of its rhythm to that of the first allegro in Beethoven's 7th Symphony) entirely original-is not merely faultless in construction and development, but a genuine inspiration. Herr Joachim, in accordance with his ordinary rule, performed the whole from memory-how well we shall not trust ourselves to add. To criticise perfection would be a thankless task; to eulogise it superfluous. Enough that Herr Joachim played as if he had been improvising. It was, indeed, difficult to imagine the composition not his own, with such fluency and natural eloquence did it proceed from the instrument which he controls, as though it were a "familiar spirit," instead of a simple composition of "wood and catgut." If Herr Molique was in the room, and not satisfied, he can hardly have written his concertos for mortal fingers. The audience, more than satisfied, recalled Herr Joachim to the orchestra, and literally "cheered " him. Still more "marvellous" a feat was the solo in the second part-an andante from one of the sonatas of John Sebastian Bach, succeeded by the renowned Fugue in C major, one of those seeming impracticabilities which, though Bach produced them for his own amusement, neither he nor any of his contemporaries could possibly have executed. Here there is no orchestral accompaniment to sustain the player. Melody, harmony, accompaniment and all, must be supplied by his unaided fingers; and this, too, in a fugue, and the fugue, moreover, on a fiddle! Herr Joachim's realisation of this dream of the venerable and venerated Canter of St. Thomas's School at Leipsic, in a word, as far surpassed any of the boasted achievements of Paganini (who scarcely ever played other music than his own) as the achievements of Paganini can have surpassed those of his predecessors-including Tartini, who wrote "The Devil's own Sonata." It fairly electrified his hearers.

Miss Louisa Pyne and Mr. Santley were the singers. That they sustained their high repute at the Philharmonic Concerts may be readily believed, and that the music they selected was well adapted to exhibit their abilities to advantage will be understood when it is added that Miss Pyne sang " Al desio di chi t'adora," from Mozart's Figaro; Mr. Santley one of the finest airs from Meyerbeer's Etoile du Nord; and the two together a duet from Spohr's Faust. At the next concert (May 5) Mlle. Titiens is to sing; Herr Ernst, Pauer to play a concerto; Mr. Cooper another (Mendelssohn's) on the violin; and the orchestra—as a quasi novelty to give a symphony by M. Niels Gade, the Danish composer, whose promise was first detected and encouraged by the always generous Mendelssohn.

NEW PHILHARMONIC CONCERTS.

On Monday night Dr. Wylde commenced the 11th season of the New Philharmonic Concerts with one of the best programmes he has ever given, and before one of the largest audiences ever assembled in St. James's Hall. His band, upwards of eighty strong, is now an instrumental force not easy to match in this or any other country. Nearly all the chief performers are from the Royal Italian Opera, and with these are associated others (Herr Molique and Mr. H. Blagrove"principal violins"-for example) whose co-operation would be invaluable to any orchestra. Dr. Wylde yearly gains experience as a conductor, and with experience that self-reliance which enables the wielder of the "bâton" to inspire his followers with confidence, and thus insure a vigorous and efficient execution. The grand orchestral pieces selected for his opening concert night, were Mendelssohn's symphony.in A minor, played at the end of the first part, Beethoven's overture to Goethe's Egmont, with which the concert began, and Weber's to Oberon, with which it was brought to a close- a triad of masterpieces by no means the less welcome on account of their being (thanks to the wonderful progress of these latter years) familiar to the majority of the audience. The symphony (the graphic and life-like revelation of the composer's impressions during his tour in Scotland) was, of course, the cheval de bataille; and we must do Dr. Wylde the justice to say that a more effective performance of this great work, from one end to the other, has very rarely been heard. It was listened to with undeviating attention by the vast assembly, who keenly enjoyed every note of it, and applauded movement after movement with a heartiness there was no mistaking. These were not all the instrumental pieces, the pianoforte being assigned a more than ordinarily important share in the programme. To Miss Arabella Goddard - who a week since bade "farewell" to the patrons of the Monday Popular Concerts, and now made her last appearance in London for the present sea

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