dard astonished us most by her performance of Bach's prelude and fugue, the difficulties of which are well known to pianoforte students. She charmed us most in the 'Kreutzer' sonata of Beethoven, in which she had the invaluable co-operation of Herr Joachim. The charm seemed to extend to the majority of the audience, since scarcely an individual quitted the room until the last note, although the length of the sonata is great, and it came at the end of the programme. Miss Goddard was recalled after the prelude and fugue. That the sonata did not evoke similar enthusiasm, may be accounted for by the peculiarly impressive and rivetting nature of the music, which is enough to throw an audience of even 2,000 people into a state of entrancement, and, as there is nothing calculated to arouse them but the echoes of their own applause (the sonata in question terminating in the softest and dreamiest manner imaginable), a storm of approbation is hardly a probable pendant to the performance. The real tribute to composer and executant was in the breathless silence which prevailed during the progress of this fanciful and wonderful work. Haydn's quartet in C, op. 39, by MM. Joachim, Ries, Webb, and Paque, one of the most tuneful of the old master's many works for the chamber, formed an agreeable opening to the concert, and met with thorough appreciation. The adagio was very warmly applauded." (From "The London Review" of April 5.) "It was not at all surprising to find St. James's hall filled to overflowing on Monday last, on the occasion of Miss Arabella Goddard's benefit, and her last appearance this season at the Monday Popular Concerts. Though repeatedly before the public, it is at these concerts that her great talent has been most abundantly displayed. The répertoire of orchestral works is very limited, in comparison with that of chamber-music compositions, and hence the frequent repetition of certain acknowledged masterpieces. To know, however, an artist in his varied capacities, and to judge of his merits, we must look to all his achievements, rather than to a few. It is for this reason that the Monday Popular Concerts have offered Miss Goddard the widest field for distinction, inasmuch as her numerous appearances necessitated a con. stant change of programmes. We know not who will be called upon to fill her place during her absence; but this we know, that no pianist, be he English or foreign, will easily succeed in effacing the impression she has left behind. Indeed, we may safely assert, that in many respects she is without a rival. Neither should it be forgotten, that Miss Goddard has appeared, alternately, with one of the greatest piano players of modern times, we mean Mr. Charles Hallé. Not only has she stood her ground bravely and nobly, but she has often challenged comparison, and in many cases carried away the palm. That the public should be eager, therefore, to show their admiration for the brilliant talent of this accomplished lady, is not to be wondered at. The pieces selected by Miss Goddard for this important occasion testified to her artistic feeling, and evinced, in a high degree, her executive powers. Beside the prelude and fugue, alla Tarantella, by Bach, with which she produced so great an effect at the Philharmonic Society, and Beethoven's Kreutzer' sonata for pianoforte and violin, with Herr Joachim, the great pianist played the sonata in C minor, Op. 111, for piano solo, the last sonata for that instrument bequeathed to the world by the immortal composer. Of Bach's fugue and its performance we have already spoken in our preceding number. To dwell upon the merits of the famous concertante sonata dedicated to Kreutzer is equally superfluous, having stated that Miss Goddard was assisted by Herr Joachim. It only remains for us to say a few words on the music and the execution of Beethoven's 'Testament Sonata,' as it is called. 'Approchons avec respect de la dernière sonate de Beethoven, du dernier accent de cette lyre sans rivale,' says M. Lenz, in his book of Beethoven et ses Trois Styles.' 'Respect' is a poor word indeed to apply to so grand a work; veneration would have been far more appropriate, since it is one of the most sublime compositions of the great master. It consists of two movements-the first an allegro, preceded by a majestic introduction, the second an adagio, with variations. They are not variations, however, in the ordinary sense of the word, but such as only Beethoven knew how to write. In listening to the last strains of this poetic inspiration, one cannot help feeling moved at this solemn leavetaking, this tender Lebe-wohl, as the author of the analytical remarks on the sonata expresses himself, to the instrument which he had raised to the dignity of the orchestra, and on the keys of which he had revealed the entire secret of his artistic life.' It is impossible to do justice to Miss Goddard's exquisite performance of this wonderful work. So delicate was her touch in some of the variations on the Arietta, that her fingers seemed to float over the key-board, and the notes became words, full of the deepest pathos. We must not forget to mention that the concert opened with an early quartet of THE system of "every theatrical manager his own critic" has of late been gaining ground immensely. Mr. Webster's opinion of Mr. Bouci. cault's dramas, Mr. Buckstone's opinion of Mr. Sothern's acting, are now proclaimed daily in the playbills as a matter of course, Thus the public are told not only what they may have for their money, but also why what they are invited to have is particularly and pre-eminently worth having. Can anything be more reasonable? The cheap tailors do precisely the same thing; and were it not for its advertisements, the firm of Moses and Son would be unknown beyond the precincts of the Minories, instead of enjoying, as it actually does, a well-earned notoriety in every part of the civilised world where the British journal penetrates. Hitherto, from some mistaken notion of dignity, our leading operatic managers have usually abstained from following in the steps of the most eminent Jew clothiers and slopsellers. We do not blame them for it. We only mention the fact, and have endeavoured to some extent to exally even in England, operatic managers have been men of considerable plain it. It must be remembered, that in many countries, and occasionliterary and artistic attainments (more than one author of distinction the last fifty years), and, not being mere speculators or at all first-rate and some of the best composers of the day have directed operas during men of business in the Minories sense of the word, they have not underignorant and vulgar, who in all communities form the immense majority, stood the great advantage of addressing themselves expressly to the and who, therefore, ought specially to be studied. The competition of the music-halls, however, seems at last to have convinced our operatic impresarios of the necessity of abandoning the antiquated system of announcing only the names of the singers engaged and the works which they meditate bringing out. To be sure, the vocalists whose services are retained at the various music-halls are usually quite unknown to the public: so that there is more necessity for violently calling attention to their merits than to those of Mario and Titiens, or of Patti and Giuglini. But both evident that the loud is everywhere found the best. Let us go with the systems have been tried — the quiet and the loud; and just now it is times, and in a spirit of becoming impartiality, let us not impute to Mr. Gye and Mr. Mapleson faults with which we should never have thought of charging Mr. Morton or Mr. Weston. The only thing we have really to complain of in this novel plan (as applied to the opera) of " every manager his own critic" is that the critic, who is not a manager, has his hands tied by it. What is he to say to the public about the merits of Mad. Chanterelle or of Signor Squallinalto, when the public has been already informed, through the medium of a dozen advertisements, that the former is "a true artist in every sense of the word," and that the latter is "decidedly the first tenor of the day?" The point is settled at once by such statements as these, and all that is left to the unhappy journalist is to paraphrase, adorn, elaborate (to intensify would be impossible) the praise so liberally accorded by the director to the singer whom he has thought fit to engage, and with whose merits he must naturally have made himself acquainted before signing the contract. To question the impresario's opinion would be unbecoming; to contradict it-impossible. Here and there we may be allowed to offer a remark in corroboration of what has already been advanced by the director; but, generally speaking, the modest part we have henceforth to play is that of echo to the managerial thunder. The directors of the two rival Operas appear to be equally impressed with the importance of the coming International Exhibition. "It will naturally be a source of pride and gratification to the musical amateurs of this country to know," says Mr. Gye, "that among the wonders and sights of London the Opera will not suffer by comparison with that of other great capitals; but, on the contrary, that the general and received opinion will be confirmed by our guests that, whether the individual talent of its different members or the perfection of its general ensemble be considered, the Royal Italian Opera stands pre-eminent among all similar establishments. To maintain, therefore, the reputation of the Royal Italian Opera, every effort will assuredly be directed, and such arrangements made as will tend to secure a most brilliant season." As for Mr. Mapleson, he appears to have resolved to open Her Majesty's Theatre simply and solely because he imagined that if, during the International Exhibition, it remained shut, all England would be disgraced. This is kind of Mr. Mapleson, and proves that he has a good heart. But let him speak in his own words :-"Called upon unexpec tedly (name of the person or persons calling upon him not mentioned) at a moment when the metropolis was about to be deprived of the performances of Italian opera in this great and renowned Temple of the Muses, and at a time when a vast influx of visitors from all parts of the world are expected to visit London during the International Exhibition, rendering it almost a national disgrace if Her Majesty's Theatre should remain closed on such an occasion, Mr. Mapleson is deeply impressed with the responsibilities of his undertaking." More than that, Mr. Mapleson has engaged a company which includes many well-known and admirable singers, such as the incomparable Mlle. Titiens and Mad. Guerrabella among the sopranos, the Sisters Marchisio of duet celebrity, Sig. Giuglini among the tenors, and Sig. Gassier among the barytones. Of course, too, a number of foreigners and not a few British provincials will continue to think for years to come that Her Majesty's Theatre is still, and has never ceased to be, the Italian Opera par exIcellence of London. "Its august appellation," says Mr. Mapleson, gravely, "identifies it in the idea of many as the Government theatre." For the benefit of strangers, it would perhaps have been more ingenuous not to have published this last remark. We observe that Mr. Mapleson is determined to make as much as possible out of the ancient reputation of the "Opera House ;" and, moreover, to do great things in order to keep it up; for he informs us that, "to retain the old prestige of Her Majesty's Theatre, the nights of performance in future will be Tuesdays, Thursdays, and Saturdays!" To increase the amount of subscriptions at the Royal Italian Opera, the nights of performance at that theatre in future will be Mondays, Tuesdays, Thursdays, and Saturdays, and there will be a double subscription list. Mr. Gye also (like Mr. Mapleson) looks back with some solemnity to the past, and tells us that he "cannot but be gratified still to find around him so many of those great artists who have long assisted to sustain the reputation of his theatre"-meaning, we presume, those veterans, Mario, Ronconi, and Tamberlik; as well as Mad. Didiée, who, though she has been many years at the Royal Italian Opera, is still quite and eminently in her prime. Nor can the veterans-veterans as they are, and though they have scarcely two voices between the three-possibly be replaced with advantage. These singers of a past or passing generation have genius, minus a certain amount of singing power. Many of the younger tenors and barytones have more singing power, but no genius. But to return to the new and improved system of advertising adopted by the rival operatic managers, let us invite the notice of our readers to the following curiously elaborate eulogium on Mlle. Titiens:- "It is seldom that Nature lavishes on one person all the varied gifts which are needed to form a great soprano. A voice whose register entitles it to claim this rank is of the rarest order. Melodious quality and power, which are not less essential than an extended register, are equally scarce. Musical knowledge, executive finish, and perfect intonation are indispensable; and to these the prima donna should add dramatic force and adaptability, and a large measure of personal grace. Even these rare endowments will not suffice unless they are illumined by the fire of genius. By one alone, of living artists, has this high ideal been reached-by Mlle. Titiens." Letters to the Editor. HARP MUSIC. SIR,-In answer to the enquiry of your correspondent N.E.G. respecting harp music, I beg to suggest that at Messrs. Addison and Co. and Mills and Son, may be had several of the published compositions of Boleyne Reeves, which are not only quite original in forms and subjects, but peculiarly melodious and artistic in their conception and treatment, and they only want to be better known to become standard works; an honour alike to the harp and composer. AN OLD SUBscriber. [It must be evident to the meanest apprehension that we cannot insert any more "answers like the above, or any more ques tions likely to extort such answers. Our bonâ-fide "advertisers " might take offence.-ED.] A LETTER FROM MENDELSSOHN. Leipzig, 18th Nov. 1837. My dear Sir,-It is now a fortnight since your sister first appeared here in public, & directly after it I wanted to write to you & give you a full account of it & only to day I have leisure enough to do it. Excuse it, but although it is late & I may think that you heard already from other sides of all the details of her great success here I cannot help writing you also on the subject, & before all I shout "triumph" because you know that you were my enemy* & that my opinion prevailed only with great difficulty (letters included) & that it comes now out how well I knew my countrymen, how well they appreciate what is really good & beautiful, & what a service to all the lovers of music has been done by your sister's coming over to this country. I do not know whether she thinks the same of my opinion now, I am sometimes afraid she must find the place so very small & dull, & miss her splendid Philharmonic band & all those Marchionesses & Duchesses & Lady Patronesses who looked so beautifully, aristocratically, in your Concert Rooms, & of whom we have a great want. But if being really and heartily liked & loved by a public, & being looked on as a most distinguished & eminent talent must also convey a feeling of pleasure to those that are the object of it, I am sure that your sister cannot repent her resolution of accepting the invitation to this place, & must be glad to think of the delight she gave & and the many friends she made in so short time & in a foreign country. Indeed I never heard such an unanimous expression of delight as after her first Recitative, & it was a pleasure to see people at once agreeing & the difference of opinion (which must always prevail) consisting only in the more or less praise to be bestowed on her. It was capital that not one hand's applause received her when she first appeared to sing 'Non più di fiori' because the triumph after the ReciThe manager of Her Majesty's writes with a bigger and broadertative was the greater; the room rung of applause, & after it there was nibbed pen, and is a greater hand at a flourish than we can pretend to such a noise of conversations, people expressing their delight to each be; but he does not go beyond us in admiration of Mlle. Titiens, who other, that not a note of the whole ritornelle could be heard; then is certainly by far the greatest dramatic singer of the day. She can silence was again restored, & after the air, which she really sang better prove that, however, at any time, and therefore does not require to be & with more expression than I ever heard from her, my good Leipsic praised by the director of the theatre where she is engaged, and who, public became like mad, & made a most tremendous noise. Since that in accordance with directorial custom, would praise her almost as much moment she was the declared favourite of them. They are equally deif she were only a vocalist of ordinary merit, like so many others who, lighted with her clear & youthful voice & with the purity & good taste without deserving it, have been lauded to the skies. May we here be with which she sings everything. The Polacca of the Puritani was allowed to take the liberty of hazarding one small objection to the style encored, which is a rare thing in our concerts here, & I am quite sure of the two operatic programmes just issued? Or rather, without the longer she stays & the more she is heard the more she will become making any direct complaint, may we be permitted to venture to suga favourite; because she possesses just those two qualities of which the gest that the sort of puff adopted by the proprietor of a place called public is particularly fond here-purity of intonation & a thorough bred The Pavilion," is more attractive and more amusing (while it is, at the musical feeling. I must also add that I never heard her to greater same time, couched in more elegant phraseology) than anything in the advantage than at these two concerts, & that I liked her singing insame line that has yet been hit upon by Mr. Mapleson or Mr. Gye? In finitely better than ever I did before; whether it might be that the calling attention to the approaching termination of the engagement of smaller room suits her better or perhaps the foreign air, or whether it is "Miss Constance," the chief of the Pavilion quictly expresses a hope that I am partial to every thing in this country (which is also not unthat, ere this engagement finally expire, "the opportunity (i.e., of hear-likely), but I really think her much superior to what I have heard her ing Miss Constance) may not be lost by those who have not yet par- before. And therefore I am once more glad that I conquered you, my ticipated in the delight occasioned by her sweet melodies." Now, what can be pretty if that isn't? We never heard Miss Constance, and probably never shall; whereas we have often heard Mlle. Titiens, and shall hear her again as often as possible. But the plain neat little appeal--almost touching in its simplicity and innocence-with which Miss Constance has inspired her director goes to the heart. The elaborate commendation of which Mile. Titiens is made the subject dazzles for a moment, and is then forgotten. One cannot help feeling a liking for Constance; but, in spite of the managerial praise, we are still convinced that Mlle. Titiens is the greatest singer. ; enemy. They are now in correspondence with the court of Dessau & with Berlin, whereto they intend to go during the intervals of the concerts here; I hope however that their stay will be prolonged as much as possible. We had Vieuxtemps here, who delighted the public; we also expect Blagrove in the beginning of January. Charles Kemble with his daughter Adelaide passed also by this place, but she did not sing in * In allusion to Mr. J. A. Novello's desire that his sister, Miss Clara, should proceed direct to Italy and not visit Germany. public, only at a party at my house. Has Mr. Coventry received my Provincial. And now "On Thursday evening last, the new Public Rooms were lighted up, and the Cambridge Amateur Musical Society favoured a large number of the inhabitants with a selection of sacred music, principally from the Messiah. The acoustic effects were, upon the whole, very satisfactory, the choruses, from the front of the room, somewhat overpowering, but, in the gallery, all that could be wished. If the orchestra had been two feet lower, the sound would spread more evenly over the room. The ventilation appears excellent. Indeed, we may say that general satisfaction was expressed. Mr. Fawcett has been in communication, through Professor Bennett, with Mad. Lind-Goldschmidt to open the rooms; but her arrangements for this circuit being fixed for April, her professional aid could not be obtained. A committee, consisting of representatives of the town and University musical societies and others, met Professor Bennett on Thursday afternoon, to make preliminary arrangements for the opening of the large room, and we hope soon to be able to furnish some definite particulars. Chorus and band performers to make a complete and efficient orchestra will be engaged from Leeds and London; and we earnestly hope that no personal feelings may prevent the whole corps musique in our vicinity from working harmoniously to render the opening festival a great success. But as it will entail a large outlay, it is proposed to raise a guarantee fund, which, though it will, in all probability, be unnecessary, it is only fair to the committee should reach a large amount, in order to avert the possibility of their being out of pocket." Since the above was written there was to have been a rehearsal of Mendelssohn's Elijah. up her in the development of her voice studied it, and subsequently resolved to go over the Italian lyric stage altogether. In the fall of 1859, Signora Trebelli left her teacher and made her début in Madrid with an Italian troupe. During the whole She first appeared as Rosina in the Barbiere, with Mario for the winter season she had such a success as beginners rarely attain. Count. Her second essay was the Page in the Huguenots. Her engagement in Madrid terminating in April 1860, she returned to Paris and resumed her studies with M. Wartel, until July 1860, when Merelli engaged her for his Berlin troop. She made her first appearance in Germany in the old city of Cologne, as Arsace in Semiramide with the most decided success. She then went to Hamburg and finally to Berlin. Her repertory consists of Pierotto in Linda, Orsini in Lucrezia, Rosina in Il Barbiere, Arsace in Semiramide, Fidalma in Il Matrimonio Segreto, Urbano in Ugonotti, the Duchess in Luisa Miller, the Countess in Tre nozze, Azucena in Trovatore, Madalena in Rigoletto, Angelina in Cenerentola, Isabella in Italiana in Algeri. — New Zeitschrift. NEW OPERA. THE PURITAN'S DAUGHTER. 12. Trio, Trio, 134. 14. Cabaletta, Duettino, Recitative, Drinking Song, 18.* Ballad, Finale, Act II. Trio, 15. 16. 17. 19. 19A. Air, ZELIA TREBELLI.-Signora Zelia Trebelli is of French descent, born in Paris, where her father holds a high government office. Her real name is Gilbert. Her musical talent manifested itself 141. early; she therefore received instruction in piano-playing when she was only six years old, her first teacher being a German, which circumstance greatly influenced the direction of her musical taste. These instructions on the piano were continued for ten years and inade her an excellent pianist. The young girl was most fond of the study of Beethoven's sonatas and the well-tempered chlavichord by Bach. The parents, not thinking to make an artist of their daughter, brought her for the elevated social circle in which they moved. When Zelia was sixteen years old she took a fancy to have singing lessons, and her father desiring she should become able to sing ballads acceptably, secured a teacher for her in one Fr. Wartel, a German, who had formerly earned a reputation as an interpreter of Franz Schubert's musical poems, and of late has been connected with the Grand Opera in Paris. Wartel at once discovered the talent of the young girl, and persuaded the parents, by no means easily, to have her educated for the lyric stage. When their consent was obtained, Wartel devoted all his time, energy and knowledge to the instruction of his promising pupil. Zelia seeing that the Italian language would be of great service to "By the tempest overtaken." My welcome also to this roof." "Can it be, do I dream ?" "Let the loud timbrel" (Unison.) Nay, do not run away." "Though we fond men all beauties woo." "Let others sing the praise of wine." "What man worthy of the name." ACT III. "Hail, gentle sleep." "A loving daughter's heart." "With emotion past all feeling." "In the composition of this unaffected and graceful trio (which is inscribed to those excellent professors of the vocal art, Sig. and Mad. Ferrari), Mr. Randegger has shown not only the melodic gift, and the knowledge of how to write effectively for voices, but a thorough proficiency in the art of combination, and, as it were, a dramatic spirit, which might win favour for an opera from his pen. Each voice (tenor, basso and soprano), in the order in which they enter, has an effective solo, followed by an ensemble (or 'tutti') for the three voices in the major key (the trio begins in C minor), the whole terminating with a coda, sotto voce,' the effect of which, if smoothly rendered by three good singers, must be as charming as it is new. The more of such 'terzettinos' the better."-MUSICAL WORLD, London: DUNCAN DAVISON & Co., 244 Regent Street, W. AIRS, BALLADS, &c. IN THE OPERETTA ONCE TOO NEW AND REVISED EDITION. Price 12s. THE VOICE AND SINGING. "The Formation and Cultivation of the Voice for Singing.' By ADOLFO FERRARI, London: Duncan Davison & Co., 244 Regent Street. "The great and deserved success of this work has brought it, in no long time, to a second edition, carefully revised, and enriched with a number of additional exercises which greatly increase its value. "Since its first publication this book has met with general acceptance, and is now used as a vade-mecum by many of the most eminent and intelligent vocal instructors both OFTEN." in the metropolis and the provinces. We say vocal instructors, because it is only to in Colours.) 2s. 6d. 2s. 6d. 3s. Od. 3s. Od. 4s. Od. 3s. Od. 4s. Od. 48. Od. La Belle Blanche Waltz," ditto "Mr. Glover's operetta is a decided, and, what is better, a legitimate, 'hit.' The songs before us have already attained a well-merited popularity. The monks were jolly boys' is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Formes. The love you've slighted still is true' (for Mile. Jenny Baur) has a melody of charming freshness. Not less a model ballad in its way is A young and artless maiden' (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are, is 'Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils."-Musical World. London: DUNCAN DAVISON & Co., 244 Regent Street, W. Just published, price 3s., instructors that works of this class can be of material use. Singing is not an art which can be learned by solitary study with the help of books, and those who are self-taught (as it is called) are always badly taught. But a good treatise, in which the principles and rules of the art, founded on reason and experience, are clearly expressed, is of infinite value, first to instructors, in assisting them to adopt a rational and efficient method of teaching, and next to pupils themselves, in constantly reminding them of, and enabling them to profit by, the lessons of their master. In both these ways Signor Ferrari's work has been found pre-eminently useful. "The foundation of singing is the formation of the voice. A bad voice cannot be made a good one; but the most mediocre voice may be made a source of pleasure both to its possessor and to others. Accordingly, ample dissertations on the formation of the voice abound in our treatises on singing. But it unfortunately happens that these dissertations are more calculated to perplex than to enlighten the reader. We could refer to well-known works by professors of singing of great and fashionable name, in which the rules for the formation of the voice are propounded with such a parade of science. and with descriptions of the vocal organs so minute and so full of Greek anatomical terms, that no unlearned reader can possibly understand them. Signor Ferrari (as he tells us) was brought up to the medical profession before, following the bent of his inclination, he betook himself to the study of music. But this circumstance, while it made him acquainted with the physical construction of the human organs of sound, has not led him into the common error of displaying superfluous learning. We have not a word about the glottis' or the 'trachæa,' but we have a broad principle distinctly enunciated, and intelligible to everybody. "Signor Ferrari's principle is of the simplest kind. Every one,' he says, 'who can speak may sing. The only difference between speaking and singing is, that in speaking we strike the sound impulsively and immediately leave it, whereas in singing we have to sustain the sound with the same form of articulation with which we struck it impulsively.' It is on this principle that Signor Ferrari's practical rules for the formation and cultivation of the voice are based. To give the pupil a sufficient control of the breath for the utterance of prolonged sounds-to soften the harshness and increase the strength and equality of the natural tones of the voice, without ever forcing it-these are the objects of the scales and exercises on sustained sounds, which must be practised under the careful superintendence of the teacher, whose assistance Signor Ferrari always holds to be indispensable. "Signor Ferrari makes an observation which, as far as we are aware, is new. It is evidently well founded, and of great importance. Owing to the want of attention to the tone in which children speak, they acquire bad habits, and contract a habitual tone which is mistaken for their natural voice. It is a result of this neglect, he says, that 'the young ladies of the present day speak in a subdued, muffled tone, or what may be called a demi-falsetto, in consequence of which very few natural voices are heard.' Hence a young lady, when she begins to sing, frequently continues to use this habitual ''The result is,' says Signor Ferrari, 'that not only does she never sing well, tone. EW ITALIAN SONG, "Parvemi il volo Scioglere." but soon begins to sing out of tune, and finally loses her voice, and in too many in NEW Melodia. Musica di E. MECATTI. London: DUNCAN DAVISON & Co., 244 Regent Street, W. Just published, price 3s. [EW SONG, "When thou and I last parted." N Poetry by JESSICA RANKIN. Music by W. VINCENT WALLACE. London: DUNCAN DAVISON & Co., 244 Regent Street, W. stances injures her chest. Indeed,' he adds, I have no hesitation in saying that hundreds of young ladies bring upon themselves serious chest affections from a bad habit of speaking and singing.' Signor Ferrari afterwards shows how this great evil may be cured by making the pupil read or recite passages in a deep tone, as though engaged in earnest conversation; and he adds, 'I cannot advise too strongly the greatest attention to the free and natural development of the lower tones of the voice. It is to the stability of the voice what a deep foundation is to the building of a house,' "Signor Ferrari deprecates, as fatal errors, the custom of practising songs or solfeggio with florid passages before the voice is sufficiently cultivated. He is of opinion that young ladies ought to begin the study of singing at thirteen or fourteen, and not, as is generally done, at seventeen or eighteen, by which time they ought to be good singers. In regard to the important question how long the pupil ought to practise, he observes that this will depend on the acquisition of a proper method. The more a pupil practises with an improper intonation the worse, but once able to sing with a natural tone, he may practise two, three, or more hours a day without danger. All Signor Ferrari's precepts are of the same sound and rational character. "The exercises, embracing the scales, and all the various passages which belong to modern melody, are sufficiently copious and admirably adapted to their purpose. In the original publication these exercises were confined to the soprano, or the corresponding male voice, the tenor. But in this new and revised edition a number of exercises are added for contralto or barytone voices-a very great addition to the value of the work."-Illustrated News, April 5. LONDON: DUNCAN DAVISON & CO., 244 Regent Street, W. BRINLEY RICHARDS. THE LASS O' GOWRIE. KETTERER, E. Price 4s. ASHDOWN & PARRY, 18 Hanover Square. BRINLEY RICHARDS.-YANKEE ASHDOWN & PARRY, 18 Hanover Square. DOODLE. Price 2s. 6d. HELLER, S. Deuzième Canzonette. Ditto Price 4s. Price 4s. Rêveries d'une Promeneur Solitaire. Price 45.1 Douze Valses, in three Books, each, 2s. 6d. QUI VIVE! Grand Galop de Concert, BACH, J. S. Gavotte in G Minor, and Musette in G played by the Composer with extraordinary success. Price 4s. ASHDOWN & PARRY, 18 Hanover Square. GOLLMI ASHDOWN & PARRY, 18 Hanover Square. Ditto Price 3s. Major, performed by CHARLES HALLE. Price 1s. 6d. Grand Galop de Concert. OURY, MADAME. ASHDOWN & PARRY, 18 Hanover Square. Price 3s. 6d. DANCE Fantaisie (Robin Hood). MUSIC. Price 38 3s DUVAL, E. RICARDO LINTER. TALLY HỌ! Fantasia (ù la Chasse). Price 3s. ASHDOWN & PARRY, 18 Hanover Square. Ditto CROAL, G. Ditto Price 4s. Lass o' Gowrie Quadrilles (Illustrated). Price 3s. VOCAL MUSIC. Price 4s. DOUARD DE PARIS.-MEZZANOTTE. Fantasia SMART, H. "Thro' every Chance and Change," Sung EDOUARD on the favourite quartet from Flotow's opera "Martha." Price 4s. ASHDOWN & PARRY, 18 Hanover Square. ASHDOWN & PARRY, 18 Hanover Square. Ditto "Tho' all should forsake thee," Song. Price 2s. 6d. "I love none else but thee," Song. Price 2s. 6d. "Thou, whom to love is all my care," Sung by Mr. WALTER BOLTON. Price 2s. 6d. EMERILE, G. "Io canto e remigo," Barcarole. Price 2s. BILETTA, E. "Il Lago di Garda," Barcarola for Four BILETTA, E. Voices. Price 4s. LONDON: CRAMER, BEALE & WOOD, 199 AND 201 REGENT STREET; PIANOFORTE GALLERY, 207 AND 209 REGENT STREET. |