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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 appearancee-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 the 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:—

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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 intrusted, as its composer (the Earl of Mornington) 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 thy life consuming," from a pen more facile than ingenious--that of R. L. Pearsall. This is of the calibre of "Oh, who will o'er the downs so free," though hardly so tuneful, and distinguished, besides, by a 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. Here 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 Lave 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 Kotzwara 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 Vauxhall Gardens, which being now a defunct institution, it is to be fearedunless Mr. E. T. Smith devotes "Cremorne" to their revival-that his 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 Annic 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.

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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 anthems, and in a still more trying task-No. 3 of John Sebastian Bach's six grand motets for double choir ("Ich lasse dich nicht du segnest mich 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 mein Gott und Vater bist," is given in unison by the sopranos, the reiteration of the words, "Ich lasse dich," &c. (already quoted), in elaborate divisions, by the other voices, is even a more special and striking case in point. The second corale, "Dir Jesu, Gottes Sohn, sey 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 sublimity. The third of the six motets is perhaps the easiest of the series; 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 laurels more magnanimously 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 the 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, He is lost to the forest,

Like a summer dried fountain, When our need was the sorest," &c.

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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 the memory of an illustrious personage, and, as such, listened to with pecu liar 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; Kücken'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.

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The next subscription concert takes place on Wednesday, February, the 12th.

CASSEL. Some few weeks ago a new Gesangverein was established consisting of ladies and gentlemen, and called after its founder, Herr Heinrich Weidt, formerly music director at court, the Weidt'scher Gesangverein. 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.

Provincial.

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 Philharmonic Society, at which they appeared on Tuesday evening last, thus eloquently and fervidly apostrophises the fair artists:

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The 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 the 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 be more adapted by nature and accomplished by art to popularise the music to which they devote their powers.

The Sisters first appeared in the duet, 'Ebben' a te, ferisci,' and no thing could have been better chosen to exemplify the joint and several qualities of the great 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. The 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,

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'No, Matilde, non morrai.' The Vanne o caro' was given with mar vellous spontaneity and exactness; and the concluding stanza, ‘Ah se m'ama, il caro bene,' was one of the most exquisite gushes of expressive melody we ever heard."

A correspondent writes from the same places :

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"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. Brinley 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 Aberdare (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 duet 'Hên Forgan a'i Wraig,' sung by Miss S. Wynne and Mr. Owen;-the ballads, 'Y'Deryn pur and Merch y Melinydd,' sung by Miss S. G. Wynne-who by the way became' her Welsh costume à ravir- Mr. Brinley Richards' own popular ballad, "The 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 Glas.' Miss Kate eke became' the Cambrian equipment à 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 Hallé. The concerts were under the management of Mr. John Owen (Owain Alaw, Pencerd), director of the National Festivals held at Llangollen, &c."

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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 te, 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 great 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 Shabran, 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 Vieuxtemps 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 the 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 Mlle. Florence Lancia, Mad. Laura Baxter, and Signor Nappi; that of the instrumentalists, Herr Schulthes and Mr. A. cello). Mr. Frank Mori and Mr. A. Sullivan conducted. That the Sullivan (pianists), Herr Louis Ries (violin), and Herr Daubert (violonRomford public are not supposed to be disinclined towards classical music pianoforte, violin and violoncello, heralded the first part, and that may be gathered from the fact that Mendelssohn's trio in C minor, for 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 the same violinist and violoncellist, with Herr Schulthes at the piano. Both trios were extremely well played. One of De Beriot'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 Schulthess, were the other instrumental performances. The vocal music was highly attractive. Mlle. 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 'Shadow song' from Dinorah, in the last of which she obtained an enthusiastic encore. Mlle. Lancia also joined Mr. Plater (I have no knowledge of this artist) in Mendelssohn's duet Zuleika and Hassan,' and won yet another encore. Mad. Laura Baxter sang the canzonetta, Fanclulle che il core,' from Dinorah, and Mr. Benedict's bailad, 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 se ben,' sung by Mlle. Lancia, Mad. Laura Baxter, Mr. Plater and Signor Nappi; and Bishop's quintet Blow, gentle gales,' by the above, with the addition of Mr. Kelleher. To conclude, the concert was a great success, and the Band Fund, no doubt, will be benefited."

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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. The instrumentalist were the 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 Southsea 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 :

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"As the period approaches when this great musical event is to take place, it may not be uninteresting to mention briefly the origin of the County and City of Cork Choral Society. In June last a number of gentlemen connected with this city resolved to organise a great musical performance in Cork on the plan of the Birmingham festivals, each

promising to use every exertion to carry out that object. During the six months which have since elapsed, these gentlemen have worked hard to accomplish their intention, and with considerable success. The festival is fixed for the 28th, 29th, and 30th of January, and will be the first musical gathering of the kind ever held in this city. A chorus comprising two hundred and twenty male and female singers has been organised, and some idea of the interest felt by the entire country in this festival may be formed from the fact that twenty of these come from Youghal, twenty from Bandon, thirty from Limerick, fifteen from Armagh and Belfast, and twenty from Dublin. We understand that the whole effective strength of the festival will consist of 300 performers, including the instrumentalists, among whom will be the cele brated organist, Mr. Handel Rogers. The solo parts will be sustained by Mad. Rudersdorff, Miss Elton, Mr. Weiss, Mr. Topham, Mr. Levey, Herr Elsner, &c. At a full rehearsal of the society which took place, last Wednesday evening, the entire of Judas Maccabeus was rendered with admirable precision, power, and expression. The words selected are-Judas Maccabeus, a selection from Des Freischutz, succeeded by a miscellaneous concert, and the Messiah. We may state that it is the intention of the society to devote any surplus which may remain after paying the expenses, to the relief of the poor of the city and county. Moreover the success of the present enterprise would stimulate its promoters to hold similar festivals frequently in Cork."

MUSIC WITHOUT NOISE. (From "Punch.")

A GREAT Musician, as every body knows, composed certain "Songs without Words," but Mendelssohn, in producing those apparently impossible works, accomplished a difliculty less arduous than that which has been surmounted by the inventor of an instrument advertised by Mr. Chappell of Regent Street, as :"AZÉMAR'S SILENT PRACTICE DRUM."

The handbill, headed as above, informs us that:

"For the purposes of practice, the Silent Drum possesses all the advantages of a real one; it offers the same resistance and rebound to the sticks, and admits of an equal degree of force and action in beating, unaccompanied, however, by the excessive noise with precludes the possibility of a drum being practised in-doors."

We would say that not only does the Silent Drum possess all the advantages of a real one for purposes of practice, but is also free from all the disadvantages of a drum which, when beaten, makes a noise. A solo on the drum is a musical performance to which few persons would like to listen under any circumstances; but when executed as a piece of practice, especially in-doors, it must be extremely far from agreeable to anybody within hearing.

Well, but some one will say, what is the use of a Silent Drum? Might not the drummer, for purposes of practice, as well beat the air? This question is provided with an answer in the subjoined

statement:

"The degree of correctness in the beating is accurately ascertained by a slight sound, as well as by the vibration on the leg, to which the Silent Drum is strapped; this position of the drum on the leg also corrects the fault, common to beginners, of allowing the sticks to drop towards the right. The small circumference of this instrument compels the drummer to concentrate the blows, and its rim ensures the sticks being kept at the proper height. The Silent Drum is very portable, six of them occupying less space than one ordinary side drum."

The fact that the small circumference of the instrument compels the drummer to concentrate blows, will be apparent from the following:

"DIRECTIONS HOW TO USE THE SILENT DRUM.-Strap it on the left leg, a little above the knee, the iron tongue resting against the inside of the same; when standing, the left leg must rest on some slight elevation; when sitting, the left leg to be bent under, and the right one stretched out, with the right side of the drum resting on it.”.

When sitting, at least, the drummer, if he missed the drum, would very likely hit the leg against which it would rest, and give himself an unpleasant whack on the knee, which would forcibly remind him of the necessity of concentration in aiming his drumstick at its mark.

Mr. Thomas Carlyle, in many of his humorous writings, takes frequent occasion to impress upon his readers the great value of the Silences. Among the Silences there are few more valuable, especially for purposes of practice, than the Silent Drum. M. Azémar would confer a great boon upon society, and particularly the studious part of it, if he could contrive to invent some other Silences of the musical kind. A silent piano in the next house would be a real blessing to many a person whose auditory nerves are sensitive; so would a silent flute, a silent fiddle, or a silent cornopeon. Let M. Azémar consult Mr. Babbage, who made the calculating machine, and abhors street-music; let them lay their heads together, and try if, between them, they cannot invent a silent grinding-organ, a silent brass band, and a silent bagpipe; to the use of which itinerant Italians, Germans, pseudo-Scotchmen, and other creators of public discord, should be restricted by Act of Parliament.

GEORGE CANNING AND HIS MOTHER.-"It is not a little curious that the Peerages' make no mention of this lady by name, the editors contenting themselves with the remark that the future Premier's father, by an imprudent marriage, incurred the displeasure of his parents, and the penalty of disinheritance. The name of the lady in question was Costello. After the marriage her husband entered as a student at the Temple; but borne down by the neglect and oppression of his family-who boasted to have been settled at Foxcote, in Worcestershire, from a fabulously remote period he soon died in almost destitute circumstances. After his death his widow married Mr. Reddish, of Covent Garden Theatre, and being again left a widow took as her third husband Mr. Hun, by whom she had two daughters. It is most honourable to the memory of that great statesman that when, on retiring from office, he became entitled to a pension, he settled it on his poor relations instead of pocketing it himself. It is still more creditable to him that, amidst all his struggles for political advancement and the warfare of party strife, he never forgot his duty to his mother. He duly corresponded with her to the last, never omitting to write to her on a Sunday, which day he always made it a rule to set aside for that purpose. So invariably punctual was he in this respect that even during his special mission to Portugal, though not able to forward his letters regularly, he still continued to write every Sunday, and sent sometimes two and even three letters by the same packet from Lisbon."-Once a Week.

MEINIGEN. On the 13th ult. the Salzunger Kirchenchor, which is under the especial patronage of the heir apparent, gave a concert in the church. The programme comprised compositions by Bach, Allegri, Palestrina, Orlando di Lasso, Prätorius, Jomelli, Mendelssohn and

Hauptmann, the whole under the direction of the Cantor, Herr Müller. Mad. Förster sang an air by Handel, and a "Sanctus" by Cherubini.

LEMBERG-The great musical event of the season has been the triumphant production of Meyerbeer's Dinorah.

DARMSTADT.-Schindelmeisser's new opera, Melusine, is in rehearsal. The members of the Grand Ducal Chapel have commenced their annual series of Subscription Concerts. At the opening concert, Beethoven's Pastoral Symphony and Weber's Jubilee Overture were performed with the precision and spirit for which the Grand Ducal Chapel is celebrated. A young pianist, Herr Martin Wallenstein, from Frankfort, made a favourable impression.

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Bob Ticket, Mr. Atkins; Pugwash, Mr. Barsby; Mr. Skinner, Mr. Hope; Susan Sweetapple, Miss Keeley; Miss Wadd, Miss Stuart; Miss Tibbit, Miss Bland; Miss Gimp, Miss Harfleur; Deborah, Mrs. Dowton. After which will be produced, with that attention to completeness in every department by which the Christmas Annuals of this Theatre have been so pre-eminently distinguished, the New Grand Comic Pantomime, entitled

Harlequin and the House that Jack Built;

OR, OLD MOTHER HUBBARD AND HER WONDERFUL DOG.

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HO is to have Her Majesty's Theatre this year? The affair, notwithstanding its proximity to accomplishment, is not yet definitely arranged. The young prima donna and the opulent banker are still deterred by the stringent stipulations of the proprietor with reference to caution money. The immediate disbursement of six or seven thousand

"If a man do build a dwelling upon common land from sunset to sunrise, and enclose pounds is no inconsiderable adventure, more especially where

other interests beside those of art are contemplated. M. Bagier is wealthy, but what possible experience can the dilettante speculator from Madrid have in managing the fortunes of so vast and complicated an establishment? Surely the Earl of Dudley would do well to ponder before consign

a piece of ground, wherein there shall be a tree, a beast feeding, a fire kindled, a chimney smoking, and provision in the pot, such dwelling shall be freely held by the builder, anything herein to the contrary nevertheless notwithstanding."-Old Forest Charter. The novel effects and splend'd scenery by William Beverley, assisted by Messrs. C. Pitt, Craven, Brew, &c. Masks, symbolic devices, personal appointments, and designs for the costumes by the celebrated Dykwynkyn. The overture and music composed and arranged by Mr. J. H. Tully. The machinery by Mr. Tucker and assistants. The tricks, properties, changes, and transformations by Mr. Needham, assisted by Messrs. Glindon, H. Adams, H. Langham, &c. The Costumes by Miss Dickinson, Mr. Lauri, and Mr. Palmer. The Gas Appointments by Mr. Hinckley. The Choregraphic Aring the theatre into such hands. Earls, we have been asrangements by Mr. Cormack. The Harlequinade and Comic Scenes by Messrs. Cormack and B. Jones. The Perfume of the Flowers supplied by Rimmel's process. The Grotesque Burlesque Opening invented and written by E. L. Blanchard. And

whole arranged and produced under the immediate superintendence of Mr. Robert

Roxby.

Harlequins, Messrs. Cormack and St. Maine; Columbines, the Misses Gunniss; Pantaloons, Messrs. G. Tanner and Morley; Clowns, Messrs. Forrest and Huline; Grotesque, Signor Lorenzo; 1861-62, Mr. Stilt. Sprites, by the Ridgways and Suwell Family.

Doors open at half-past 6, to commence at 7 o'clock.
Tickets for boxes, pit, and galleries may be had at the box-office before the opening.

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sured, love money like inferior mortals, and M. Bagier would, beyond all suspicion, prove a solvent tenant; but his Earlship loves something else besides lucre, and has more than once proved himself a strenuous advocate in the cause of music. To secure his rent is one of the primary objects of a landlord; but when the landlord is rich, noble, talented, consequential in the public eye, and the owner of one of the greatest musical establishments in the country, some latitude in speculation, some freedom of commercial enterprise, might be expected, without even intruding on the domains of liberality. That Her Majesty's Theatre should be closed this

MONDAY POPULAR CONCERTS. year, of all years, would seem to proceed from no less a

THE
THE Sixth Concert of the Fourth Season (70th Concert
which occasion Signor Piatti, Mons. Sainton, and Madame Sainton-Dolby will make
their first appearances.

PROGRAMME.

PART I-Quartet, in E minor, Op. 45, for Two Violins, Viola, and Violoncello (Spohr), MM. Sainton, L. Ries, H. Webb, and Piatti. Song, " Name the glad day (Dussek), Miss Banks. Song. "Divinities du Styx" (Alceste) (Glück), Madame Sainton-Dolby. Sonata Caracteristique, in E. flat, Op. 81 (Beethoven), Mr. Charles Hallé (first time at the Monday Popular Concerts).

PART II.-Sonata, in F major, for Pianoforte and Violoncello (Beethoven), Mr. Charles Hallé and Signor Piatti. Song, "Never forget" (G. A. Macfarren), Miss Banks. Song, "In a drear-nighted December" (J. W. Davison), Madame SaintonDolby. Trio, in G major, for Pianoforte, Violin, aud Violoncello (Haydn), MM. Hallé, Sainton, and Piatti. Conductor, Mr. Benedict. To commence at eight o'clock precisely.

NOTICE. It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption.

**Between the last vocal piece and the Quartet, an interval of Five Minutes will be allowed. The Concert will finish not later than half-past ten o'clock. Stalls, 5s.; Balcony, 3s.; Admission, 1s.

Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly; CHAPPELL and CO., 50 New Bond Street, and of the principal Musicsellers.

determination than to ensure its downfall. If managerial speculators, in the Great Exhibition year, would shrink from paying the enormous rent asked, what chance is there that any individual who is tolerably acquainted with the arithmetical process of addition and subtraction, and could tell a straight line from a crooked, would embark at any future period in such a perilous venture as becoming lessee of the theatre? The idea is simply absurd. If Her Majesty's Theatre is not opened this season, the star of its fortunes has, too probably, set for ever.

If we were worth one hundred thousand pounds sterling, we should hasten to the noble proprietor without delay, and, with the utmost zeal and disinterestedness, advise him to entrust the fortunes of the Old House once more to the keeping of Mr. Lumley. This indeed is the only hope for Her Majesty's Theatre. Mr. Lumley, of all living managers, is best constituted to preside over its destinies and to direct its course. He has vast experience, infinite intelligence, unlimited means

of obtaining information, and—as befits the head of one of the most fashionable and important lyric theatres in Europe -the most courtly manners and the most conciliating address. After all, what is the difference between the noble proprietor and Mr. Lumley, but the disagreement about My Aunt Dinah's affair in Tristram Shandy? And, indeed, might not Mr. Lumley, acting the part of the elder Shandy, in the strict obligation he owes to truth, thus essay to liberate himself from all blame with the Earl of Dudley, representing My Uncle Toby? He might, like "my Father," urge in extenuation—"Amicus Plato”—that is, Payment was my bond:-"sed, magis, Amica Veritas". but Repudiation was my Necessity. If this would not lead to a satisfactory arrangement, in reality we know not what would.

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upon each occasion a fixed subscription was paid, and in turn every member was presented with a testimonial, or, to quote the words of the prospectus, "a token of respect, varying from a small snuff-box to an equestrian statue, according to the price such member might choose to pay for it; it being a stern and independent axiom of the association that each pays for the presentation offered to himself, and thus is a party to the reward bestowed upon those merits of which no person is so good a judge as himself." Thus any member had the power to increase the joint subscription to any extent by contributions from his own (or his friends') pockets, so that if dissatisfied with the orthodox silver snuff-box (one eccentric member presented himself with a silver coffin-plate), he could, by paying the difference, have an equestrian statuc. Members had Let us hope for brighter days for the "Old House at the privilege of designing the inscription on their own testiHome," in the Haymarket. With that time-honoured es- monials, and of introducing a friend as honorary member, who tablishment are connected very many of our most vivid and was mulcted of a subscription, and kindly permitted to dine delightful recollections of Italian Opera. It was there not annually with the members. at his own expense. The to go too far back we first saw and heard Pasta, Sontag, society may have become defunct, but its objects do not appear Malibran, Grisi, Persiani, Cruvelli, Pisaroni, Brambilla, to be lost sight of-a striking instance of its existence having Rubini, Donzelli, Mario, Tamburini, Zuchelli, Lablache, and recently come to light. The following is a verbatim copy of a host of other celebrities. It was there we first listened to a circular dated from one of the modern mis-called "Music the best operas of Mozart and Rossini, with casts that never Halls," arrogating to itself the designation of our oldest and have been surpassed. It was there we heard, and heard only, most venerated musical institution: that glorious quartet of vocalists the wonder and admira- "The enterprise of Messrs. &, in having established the tion of the world- try their united strength in the Barbiere, Music Hall, with its accessories, has been thought by many of their Don Giovanni, Le Nozze di Figaro, La Gazza Ladra, friends to be worthy of some mark of esteem and respect for their Cenerentola, Puritani, Marino Faliero, Otello, and other spirited conduct; a few gentlemen have, therefore, formed themselves into a committee for the purpose of carrying out the above object, by operas which have escaped our memory, not forgetting Mr. presenting them with a suitable testimonial. Some of the members of Balfe's Falstaff-to say nothing of Mr. Costa's Malak Adel the committee will do themselves the honour of waiting upon you ou and Don Carlos- written for "them four." It was there we the inst. I am, yours, respectfully, Hon. Sec. and Treasurer." saw another quartet only less immortalised in fame-inasmuch as the ballet is inferior to the opera - the inimitable This document is headed with the name of the hall in Taglioni, Queen of the Graces; the gazelle-like, fascinating question, and dates from the "committec-room," held in the and enchanting Carlotta Grisi; the bounding and inexhaus-building, the envelope bearing a stamp with the names of tible Fanny Cerito; the agile and swan-fashioned Lucile the proprietors to whom the testimonial is to be presented! Grahn. Do they not seem now to figure before us on the About the exquisite taste of the whole proceeding, not a never-to-be-forgotten stage, and each throw the golden light word need be said; but still there is something inexpressibly of her ethereal witcheries over the spell-bound audience? funny in the notion of a subscription to recognise the spirited Alas, both quartets have vanished into the ingurgitating conduct of two individuals opening a public-house, with a misty Past, and Silence and Darkness now hold their bridal, singing-room and "accessories," for their own especial where once Pleasure and Fashion reigned supreme. Here, benefit, and the degradation of art. Let any one who wishes too, the dark-browed queen of tragedy, Rachel, with down- to learn their influence make the tour of these "halls,” and cast eyes and step that told the history of a heart, moved, observe what produces the strongest impression, elicits the the incarnation of some terrible passion, before our gaze, most frantic applause, with double and triple encores; not choking our utterance. Here, too—but why recall what the operatic selections, the only decent things of the evening, has been, as if merely to show the impossibility of what may even if performed with what was advertised as a “full” be? If we cannot redeem bygone glories, we may, at least, band by the gentlemen whose enterprise is to command a realise a hope for the future. Her Majesty's Theatre again testimonial, and which full band (if our memory serves us opened and the directing power once more vigorous and rightly), consisted of a piano and harmonium, cornet, saxenergetic may rise from its ashes, and assert its ancient horn, and drum! Not these, even with the aid of Signora supremacy and grandeur. Let us anticipate the best, and Squallini "from La Scala," no, but the comic (Heaven save trust that the doors of the great operatic temple may be the mark!)-the comic song, the broader the buffoonery and soon unclosed, and its administration delegated to proper more highly spiced with double entendre the better. And hands. There is no reason why, though neglected and for for the establishment of rooms for the encouragement of this saken, it should not yet be restored to the proud position it class of entertainment, which fills the musicsellers' windows once occupied, of the first and most magnificent lyric with portraits whose vulgarity is only equalled by their stutheatre in Europe. pidity, vide "The Young Man from the Country," "Doing the Grand," "The Nerves," &c., the individuals represented looking, in one instance, something between a flash horseprig and mountebank; the third, apparently, typifying two hopeless idiots, the character of the songs being on a par with the embellishments. It is gratifying to find one or two journals earnestly protesting against this growing nuisance, which, however, must in time work its own cure-not in the

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"The Mutual Presentation Plate Society," the purport of which was sufficiently indicated by the title. After the manner of our Royal Academy and the Academy of France, the number of members was strictly limited to forty. The meetings were held regularly in the neighbourhood of Bedlam,

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