MR.

AND

BOOSEY & SONS, HOLLES STREET.

MADAME LIND-GOLDSCHMIDT.

EXETER HALL, May 14, May 28, and June 4, 1862.

R. MITCHELL begs to announce that he has been requested by Mr. and Mad. GOLDSCHMIDT to make arrangements for the performance of three oratorios, "The Messiah," "The Creation," and "Elijah," which will take place in Exeter Hall respectively, in behalf of the following Benevolent Institutions:

1. Wednesday Evening, May 14, HANDEL'S "MESSIAH," in aid of the Hinde Street Institution, and other establishments for the relief of needlewomen in London. 2. Wednesday Evening, May 28, "THE CREATION," by HAYDN, in behalf of the Hospital for Consumption and Diseases of the Chest, Brompton.

3. Wednesday Evening, June 4, MENDELSSOHN'S" ELIJAH," in support of the Royal Society of Musicians and the Royal Society of Female Musicians. The principal vocal parts in these performances will be sustained by Mad. LIND-GOLDSCHMIDT, Miss PALMER, Mr. SIMS REEVES, Mr. W. H. WEISS, and Sig. BELLETTI. The BAND and CHORUS will be complete, comprising upwards of 500 performers. Conductor, Mr. OTTO GOLDSCHMIDT.

Centre reserved and numbered seats, one guinea; sides of the area- reserved and numbered, half a guinea; west gallery, half a guinea; back of area, 7s. Seats will be appropriated according to priority of application. Orders received on and after Monday, April 28. Applications to be made at Mr. Mitchell's Royal Library, 33 Old Bond Street; Mr. Sams', St. James's Street; Messrs. Addison & Lucas's, Regent Street; Messrs. Cramer, Beale and Wood's, and Messrs. Hammond's, Regent Street; Messrs. Chappell's, Bubb's, Cock and Hutchings', Hopwood and Crew's, Hookham's, Ebers', and Ollivier's, Bond Street; and Messrs. Keith and Prowse's, Cheapside.

DIRGE.

(Shortly to appear :-)

RONDO CAPRICCIOSO, in B flat."

SONATA IMPETUOSA, in E flat major.

R. MILLS, 140, NEW BOND STREET.

R. JAMES LEA SUMMERS has the honour to anguished patronage, in aid of the Institution for the General Welfare of the Blind, Euston Road, will take place at St. James's Hall, on Friday, May 30th, assisted by HERR JOACHIM, the Sisters MARCHISIO, and other eminent artists. Conductor, Signor li CALSI.

MRS.

RS. MEREST (late Maria B. Hawes) has the honour to announce that she will give THREE MUSICAL SOIREES at 7 Adelphi Terrace, under the patronage of their Royal Highnesses the Duchess of Cambridge and the Princess Mary Adelaide, on Wednesday next, April 30, Friday, May 16, Friday, May 30, to commence at half-past eight o'clock.

The following artists will appear during the series:-Vocalists: Mesdames WEISS, LOUISA VINNING, ELEONORA WILKINSON and MEREST; Messrs. REICHARDT, ALLAN IRVING, FERRARI, WHITEHOUSE, DYSON, DISTIN, CARTER, SEYMOUR, SMITH and WEISS. Instrumentalists: Mesdames L. SUMMERHAYES and SIDNEY PRATTEN, Master ASSCHER, Messrs. EMILE Berger, BeHM, R. BLAGROVE and CHARLES HALLE.

Single Subscription for the three Soirées, 17. 1s.; Family Ticket, admitting three persons to one Soirée, 17. 18.; Single Ticket, 10s. 6d.; to be had of Mrs. Merest, 7 Adelphi Terrace, Strand, W.C., and of all the principal Musicsellers.

APTOMMAS'S FIRST HARP RECITAL, on Tuesday,

April 29, at 16 Grosvenor Street (by the kind permission of Messrs. Collard), commencing at 3 o'clock. He will play Krumpholtz's Symphony, Dizze's Etudes, Alvar's Montecchi, Fantasia, Welsh Melodies, and a Duet for Harp and Piano with Mr. ARTHUR NAPOLEON.

Tickets at the Musicsellers, and of Mr. Aptommas, 6 Leighton Grove, Kentish Town, N.W.

ST;

(T. JAMES'S HALL.-MR. JOHN FRANCIS BARNETT begs to announce that his GRAND CONCERT will take place at the Tickets may be obtained at the principal Musicsellers, at the Hall, and of Mr. Barnett, 21 Brecknock Crescent, Camden Road, N.W.

CONCERTS.-Director, Dr. WYLDE.

The SECOND CONCERT will take place on Wednesday evening, May 7, at 8 o'clock; the PUBLIC REHEARSAL, Saturday afternoon, May 3, at half-past 2; when will be performed Mozart's Jupiter Symphony, Spohr's Violin Concerto, Beethoven's Pianoforte Concerto, and other works.

Vocalists: Mile. CARLOTTA MARCHISIO and Mlle. BARBARA MARCHISIO; Pianoforte : Mr. JOHN F. BARNETT; Violin: Herr JOACHIM. Orchestra and Choir of 300 Performers.

Tickets for the Public Rehearsal-Stalls, 7s.; Balcony, 5s., 3s.; Area and Gallery, Is. For the Concert- Stalls, 10s. 6d., 7s., 5s., 38., 1.

ST. JAMES'S HALL. A

CONCERT will take place on Friday, May 9, in which the Military Band of Messrs. John Broadwood & Sons' manufactory will perform, under the direction of the Bandmaster, Mr. Sullivan.

Artists:-Miss BANKS, Miss ROBERTINE HENDERSON, Miss LASCELLES and Mad. SAINTON-DOLBY; Mr. WILEYE COOPER, Mr. WALLWORTH and Mr. SANTLEY, Messrs. SAINTON, LOUIS Ries, Adolph Ries, Vieuxtemps, BENJAMIN WELLS; Messrs. WALTER MACFARREN, FRANCESCO BERGER, ARTHUR SULLIVAN and MARCELLUS HIGGS; Messrs. ERNST PACER and CHARLES HALLE.

Stalls, 5s.; Reserved Seats, 2s. 6d.; Unreserved, 1s. Tickets to be had of Mr. C. Trail, Messrs. Broadwoods' Manufactory, Horseferry Road, Westminster, at Mr. Austin's Ticket Office, St. James's Hall, and of all the principal Musicsellers.

WESTBOURNE HALL-HERR JULIUS SPREN

GER has the honour to announce that his MATINEE MUSICALE will take place at the above Hall, on Thursday, May 8, 1862, to commence at 3 o'clock. No. 17.

IG. GIULIO REGONDI and HERR LIDEL have

the Queen's Concert Rooms, Hanover Square, on Wednesday evening, May 14, 1862, to commence at half past eight o'clock precisely. Vocalists: Mlle. PAREPA and Mr. SANTLEY. Instrumentalists: Harp, Mr. BOLEYNE REEVES; Guitar and Concertina, Sig. GIULIO REGONDI; Violoncello, Herr LIDEL. Conductor: Mr. ALFRED MELLON. Mr. FRANCESCO BERGER will preside at the Pianoforte.

Single tickets, half-a-guinea, family tickets (to admit three), one guinea, may be had at all the principal music warehouses; of Sig. Giulio Regondi, 29 Dorset Place, Dorset Square, N. W.; and of Herr Lidel, 9 Osnaburgh Terrace, Regent's Park, N. W.

[LLE. GEORGI, having returned from the provinces, is now at liberty to accept engagements for Oratorios, Concerts, &c. Address, Mr. H. Jarrett, Musical and Concert Agent, at Messrs. Duncan Davison & Co.'s Foreign Music Warehouse, 244 Regent Street, W.

ARTICLED MUSIC PUPIL. Dr. MONK, Cathedral,

York, has a Vacancy in his house for a Pupil about fifteen years of age, to be prepared for the Musical Profession, and a University degree.

VIOLONCELLO for SALE. A first-class Violoncello

to be disposed of. To be seen at 31 Silver Street, Notting Hill, Bayswater.

-to the end, and will hurt nobody's fingers, if it touches nobody's feelings. Probably a more harmless composer does not walk, sup, sleep, snore (?), dream, wake, get up, wash, breakfast, read THE MUSICAL WORLD, receive visits, make visits, snuff (?), smoke (?), ride (?), lunch, talk, go out, come in, dine, drink, doze, go out again, come in again, sup, go to bed, sleep-(write letters, get answers, court, marry, dance, have children, pet them, spoil them, compose music, sell it, get paid for it, see it in print, play it, admire it, send it for review)-wake, get up, wash, breakfast, read THE MUSICAL WORLD, &c. &c. than the composer of the above " posite."

com

"Lays of the Olden Time" new series, freely transcribed for the pianoforte, by THEODORE KULLAK (Robert Cocks & Co.).

The new series consists of six pieces. No. 1 is a "transcription" of J. F. (not Alexander) Reichardt's "Lied der Nacht" ("Lay of the Night"); a melody with which Herr Kullak can thoroughly sympathise, being precisely such a one as, in a sentimental mood, he might have written him. self. It is for this reason, doubtless, thoroughly well arranged, and embedded in kindred flourishes. No. 2, Zumsteeg's "Soldatenspruch" ("Military Song"), is also good. The theme (Zumsteeg was a Bavarian composer, author of an opera called The Phantom Island, or "Geisterinsel," of ordinary capacity) is vigorous, martial, and commonplace; and Herr Kullak has dressed it out in a vigorous, martial, and and appropriate manner. Of No. 3 we should like to speak as favourably; but we are unable. Mozart's lovely "Veilchen" (of which Mendelssohn was thinking when he composed "The first violet") deserved a better fate than to be thus ruthlessly tortured by Herr Kullak.-Nor can we be persuaded to tolerate No. 4, in which Weber's noble setting of "Lützow's Wild Jagd" ("Lutzow's Wild Hunt") is made to perform a sort of "dance of death." (Here, by the way, is matter which would delight Mr. William Vipond Barry.) No. 5 and No. 6 ("Hope told a flattering tale," and "Contentment") are equally reprehensible. Only a musical Nero, one would have thought, could have had the cruelty thus

to break upon the wheel the innocent and expressive melody of Paesiello ("Nel cor più"), and such a heart-felt thing as Mozart's "Die Zufriedenheit." It is "Nel cor più" with a vengeance; but "più" what, we must leave the modern Cardanus who prepares the Encomium Kullakii to decide.

"La Bruyère," Caprice Suédois, pour piano, par JOSEPH O'KELLY;

"Le Départ de l'Helvétie," fantaisie brillante, pour piano, par ALPHONSE LEDUC;

"Evening Calm," Melody, composed for the pianoforte, by EDWIN M. LOTT (Robert Cocks & Co.).

Three tittlebats. Mr. Joseph O'Kelly's tittlebat is entitled "Swedish," or rather, as it is the custom prevalent now among our young Irish composers (O'Kelly?) to intitule their pieces in French-" Suédois" We can apprehend nothing Swedish" in its bearing, but are nevertheless constrained to admit its liveliness. The 66 meno vivo con abbandonate" (page 4), which may be regarded as its fins, is decidedly its prettiest and most engaging feature; but the "animato marcato il basso" (page 9), which may be contemplated as its tail, is so little in keeping with the other parts of its body, that we should prefer it without tail (we have seen a tinker tailless, though never a bat,-not even a "tittle"). Why, by the way, "con abbandonate," instead of con abbandonamento" (which is a substantive)?—or, at all events, abbandonatamente (which is an adverb)?—or at any thinks to abbarbagliare the English public with such mixed rate abbandonevolmente (which is another)? If Mr. O'Kelly gibberish, he will find himself in the wrong box. At the best it is but abbaruffamento, and can never become abbarbicato in this country; and this in anticipation of a very natural retort on his part,-viz, that he knows how to abbiocare his own abbindolazioni (which means to "cluck his own chicks"), and does not roost in need of our advice. M. Alphonse Leduc's tittlebat (Op. 137) is entitled "The Departure from Helvetia," " de F. Massini"; but if F. Massini, why Alphonse Leduc (Op. 137)? What Alphonse Leduc (Op. 137) can possibly have to say to the "Departure from Switzerland" of F. Massini, and why Leduc should celebrate it in a solo, probably no one except F. Massini or Alphonse Leduc is in a condition readily to explain. The tune by which A. Leduc celebrates the exodus of F. Massini is extremely "Swissy," and the style of the piece as bucolic as though it had been composed upon a sheep's back or a shepherd's shoulders, under the influence of the "Ranz des Vaches." A more bucolic tittlebat was never caught in a stream hard by a thicket.

Mr. M. Lott's tittlebat, entitled "Evening Calm," is in E flat, and is chiefly remarkable for a sort of even(ing) calmness, and a label attached to its fins with an inscription in bád Italian- "il melodia ben marcato." It is, nevertheless, a bat of some water, if not some fresh water.

IN the first place, you must know that the Theater an der Wien is in a bad state. The last hour of Herr Pokorny's management seems to have arrived. According to the commonly received report, a committee, consisting of Herren Rott, Findeisen, Röhring, Swoboda, and Weichelberger, notified not long ago to the management, in the name of the entire company, that they would consent to go on playing only on condition that the current salaries should be paid on the 31st March, and that guarantees should be given for all arrears as well as for the future. The manager being unable to comply, it was necessary to close the theatre on the 1st April. I have been informed that a short time since the principal creditors were inclined to give Herr Pokorny another year's grace, in order to avoid the catastrophe which was otherwise unavoidable. Now, however, that catastrophe would appear to have arrived. Even supposing personal interest, vanity, good nature, and, above all else, want, should induce a certain portion of the company to enter upon a fresh arrangement, the latter cannot possibly last. If the management is at present unable, at the end of the winter, that is to say, of the good theatrical season, to defray its daily expenses, what can it be expected to do during the summer, when every theatre, even the best, is in the habit of having bad business? If, moreover, it be true that the arrears, which have been accumulating for years, amount to nearly 20,000 florins, and that the interest on back debts exceeds the enormous sum of 40,000 florins, every person must at once perceive the impossibility of restoring matters to a healthy financial state. With a gold mine like the Theater an der Wien, and with a very good company, like the present one, such is the pass to which Herr Pokorny's management has brought matters. It is impossible that this state of things can continue. By its want of anything like order, reliability, and steadiness, the management has lost all credit with monied men; by its neglectfulness, laziness, and unskilfulness, it has sacrificed all its popularity with the general public; and by its injustice, caprice, and incompetence, it has trifled away the confidence of the company. Every attempt to restore the status quo would only result in worse confusion. A new board of directors, and a fresh artistic board of management, might produce a momentary amelioration, but could not afford any guarantee for the future. Eight years ago improvement might have been possible, but the time has now passed, and a radical change cannot be effected unless the theatre passes into other hands.

The contemplation of an unfortunate family is always painful, even though the misfortune may have been brought about principally by the fault of the sufferers themselves. But a critic must consider facts and not persons. Directly he looks at a subject from a purely philanthropic point of view, all impartial judgment ceases. According to this principle, I can acknowledge Herr Pokorny's honourable conduct, I can express my personal regret at the misfortune which has overtaken him and his family, but, at the same time, I am bound to represent his public management of a public institution as what I sincerly believe it was. Had Herr Pokorny paid less attention to the sweet flattery of those by whom he was surrounded, and lent a readier ear to the bitter truths told him by his real friends, he would not perhaps now be reduced to the sad necessity of reproaching himself with having plunged two hundred persons, together with their families, into misery and want. A question which will now strike everyone is, What is to be done? A continuance of Herr Pokorny's management appears, as I have already observed, an impossibility; should his management be still allowed to continue, it would be only a tinkered, patched up affair, and in another year, or perhaps less, the company would be exactly where they are now, except that their affairs would be in an even more hopeless state. Among the many reports in circulation concerning the

immediate future of the theatre, there are only two which possess the slightest consistency: according to the one, Herr Rott, and, according to the other, Herr Treumann, is to be appointed manager. I do not think, however, that either of these gentlemen is fitted for the post, and, if I am not trespassing too much upon your space, I will tell you why.

"Once upon a time," as we say in the story-books, there was, at the Theater an der Wien, not "a king" or a "queen," but a kind of dictator, and his name was Herr Rott, to English ears not a pleasing patronymic. Now Herr Rott took advantage of his then position to monopolise every good or great part. Not only would he not have anyone over him, but he would not suffer anyone even near him; a peculiarity he shares, I am bound to say, with certain theatrical magnates in London. Such being the case, Herr Rott cannot justify the hope that he would prove a just and impartial manager. Besides this, he has become somewhat indolent of late, and I do not think his pecuniary circumstances are such as would enable him to purchase the theatre, without at once plunging into a hopeless sea of debt, like that in which Herr Pokorny is now floundering. Herr Treumann, on the other hand, formed his company, created his style, and trained his public in the Franz-Josef's Kai. Trifles light as air, such as Offenbach's operettas, are not suited for the larger establishment on the Wien. If he gives up his present theatre, he must also give up his present company; that would be a pity. If he retains his present theatre, he must give up the keep on both. I greatly fear that, in changing his quarters, he would company of the other house; that would be a greater pity. He cannot lose his popularity and good luck, and to speak of what to him is quite as important as aught else, if not more so, whatever money he may have saved.

I should deeply regret to see the company at the Theater an der Wien broken up; it is, even now, very good, and might, with a little trouble, be made unusually so. In Herren Rott, Findeisen, Albin Swoboda, and Röhring, it can boast of artists such as no other of the faubourg theatres can show. To the above gentlemen I must add Mesdames Klimetsch, Raab, Mellin and Rudini. It would be a great misfortune were artists, who, from long habit, work so well together, sud

denly separated. In my opinion, the best thing under the circumstances

would be for a company of shareholders to purchase the theatre, and put a thoroughly experienced and talented professional manager, with a I am sure it would prove an good salary and full power, at its head. excellent speculation, yielding from eight to ten per cent. on the capital invested. At any rate, some decision must be arrived at within the next few days; and as it is impossible that the state of things could be worse, it may safely be affirmed, if there is truth in the old proverb, that it will soon be considerably better.

and the only important revival is that of La Fille du Régiment, in which In the way of opera there has been no novelty for some time here, Mlle. Liebhardt sustained the part of Marie, "the daughter of fifteen hundred fathers," a part for which she is not particularly well qualified, and her impersonation was anything but successful. Had she not changed the current of feeling among the audience by her execution of the music allotted to her in the finale of the first act, it is a question whether the opposition party, which was very strong, would have allowed her to continue. She was somewhat better in the second act. She got through the singing-lesson tolerably, as well as the andante of the next air. This saved her. Her acting was not superior to her singing, and I do not think it probable that she will repeat the part. The rest of the singers were satisfactory, and as much may be said of the orchestra, under Herr Dessoff. Among other operas lately given, we have had Der Freischütz, Margarethe, Gräfin Egmont, and Maria di Rohan. The management certainly require a little stirring up.

BORDEAUX.-Last Monday evening, in the saloon of the Salle Franklin, which was too small for the crowd who endeavoured to obtain admission, we were present at one of those musical soirées, the recollection of which will for ever remain engraved in the artistic annals of Bordeaux. The public had, in fact, flocked from all quarters to hear no less a treat than Haydn, Mozart and Beethoven, interpreted by Vieuxtemps, the king of the violin, and Servais, the king of the vio loncello, two prodigious artists, in a word, who appear to have stolen, from the chefs-d'œuvre of the great masters the celestial fire, in order to illuminate with it our hearts. What an unexpected piece of good fortune it was for Bordeaux yesterday to behold these two sublime interpreters of contemporary art, seated together at the same desk! to see the two masters, who, by a stroke of their irresistible and powerful bow, exhibit to us unexpected views and prospects in every chefd'œuvre, exalting, charming, and, so to speak, driving us out of our wits by the creations of their genius. We must inform our readers that for these two men to meet thus in Bordeaux, it needed nothing less than