Beg to announce that, owing to the Repeal of the Paper Duty, and the increased facilities that now exist in the Printing of Music, they are enabled to issue the whole of their well-known Series of Operas, for Voice and Pianoforte, at a reduction of 50 per cent, from the prices at which they were originally published. The Operas are perfectly complete, with the whole of the Recitatives, &c, in two Languages, and are bound in Limp Cloth, so as to form Portable Companions to the Theatre.

Now Ready,

s. d.

MOZART'S DON JUAN (English and Italian Words) - - 9 0

MOZART'S FIGARO (English and Italian Words) - - - - 9 0

MOZART'S ZAUBERFLOTE (English and German Words) - - 5 0

VERDI'S IL TROVATORE (English and Italian Words) - - "50

VERDI'S LA T RAVI ATA (English and Italian Words) - - - 5 0

VERDI'S ERNANI (English and Italian Words) - - - -76

BELLINI'S NORMA (English and Italian Words) - - - - 5 0

BELLINI'S SONNAMBULA (English and Italian Words) - - - 6 0

MEYERBEER'S DINORAH (English and Italian Words) - - - 5 0

BALFE'S SATAN ELLA (English Words) 6 0

WEBER'S DER FRIESCHUTZ (English and German Words) . -60

FLOTOW'S MARTHA (English, Italian and German Words) . - 5 0

SPOHR'S FAUST (English and German Words) . . . - 6 0

DONIZETTI'S LUCREZIA BORGIA (English and Italian Words) . 8 0

BEETHOVEN'S FIDELIO (English and German Words) . . - 8 0

ROSSINI'S IL BARBIERE (English and Italian Words) . . - 9 0

GLUCK'S IPHIGENIA IN TAURIS (English and French Words) . 5 0


Printed by George Andrew Spottibwoodb, of No. 12 James Street, Buckingham Gate, in the Parish of St. Margaret, in the City of Westminster, at No. S New-itreet Square in the Parish of St. Bride, in the City of London. Pubilthed.by John Boosey, at the Office of Boodet ii Sons, 88 Holies Street—Saturday, April 19,1862. ,

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"the -worth Of Art Appears Most Eminent In Music, Since It Requires No Material, No Subject-matter, Whose Effect Must Be Deducted: It Is Whollt Form And Tower, And It Raises And Ennobles Whatever It Expresses"Osthe.

SUBSCRIPTION—Stamped for Postage—20s. PER ANNUM Payable in advance by Cash or Post-Office Order to B00SET & SONS, 28 Holies Street, Cavendish Square, London, W.

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Expressly for the Opening of the INTERNATIONAL EXHIBITION, by






EXETER HALL, May 14, May 28, and June 4,1863.

MR. 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 Institution!:—

1. Wednesday Evening, May 14, HANDEL'S "MESSIAH," in aid or 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 Diieases of the Chest, Brompton.

3. Wednesday Evening, June 4, MENDELSSOHN'S ELIJAH," in support of the Royal.Sodety 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 Rreves, Mr. W. H. Weiss, and Sig. Bblletti. The Band and < "Honrs 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 38. Applications to be made, at Mr. Mitchell's Royal Library, 33 owl Bond Street; Mr. Sams', St. James's Street; Messrs. Addiscn & Lucas's, Regent Street; Messrs. Cramer, Beale and Wood's, and Messrs. Hammond's, Regent Street; Mossrp. Chapnell's, Bubb's, Cock and Hutchlngs', Hopwood and Crew's, Hook ham's, Ebers', and Oil i Tier's, Bond Street; and Messrs. Keith and Prowse's, Cheapside.

ST. JAMES'S HALL. —NEW PHILHARMONIC CONCERTS.—Director, Dr. Wyldk. The SECOND CONCERT will take place on Wednesday evening, Mav 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 Mite. Barbara Marchisio; Pianoforte: Mr. John F. Bak.seIt J Violin: Herr Joachim. Orchestra and Choir of 3O0 Per

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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 Robrrtink Henderson, Miss T.ascbllrs and Mad. Sainton-dolby: Mr. Wilbye Cooper, Mr. Wallworth and Mr. Santlry, Messrs. Sainton, Louis Ries, Adolph Ribs, Viedxtemps, Benjamin Wells; Messrs. Walter Macparren, Francesco Brrqer, Arthur Sullivan and Marcrllus Higgs; Messrs. Ernst PaUer and Charles Halle.

Stalls, 5s.; Reserved Seats, 2s. 6d.; Unreserved, Is. 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 SPRENGERhas the honour to announce that his MATINEE MUSICALS wlB take place at the above Hall, on Thursday, May «, 18*»2, to commence at 3 o'clock.

No. 17.


(Latest compositions).


SCHERZO la E Bat minor

SOLO :—" The Last Hose of Summer"

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MRS. MEREST (late Maria B. Hawes) has the honour to announce that she will give THREE MUSICAL SOIREES at 7 Adelphl 1 errace, under the patronage of their Royal Highnesses the Duchess of Cambridge and the Princess Mary Adelaide, on Wednesday next, April 30, Friday, May '6 Friday May 30, to commence at hair-past eight o'clock.

The following artists will appear during the series Vocalilts: Mesdames Willi Louisa Vinnino, Elkonora Wilkinson and Merest; Messrs. Reichardt, Allan Irving, 1-errari, Whitehoiise, Dvson, Distin, Carter, Seymour, Smith and Weiss. Instrumentalists: Mesdames L. Summeriiayes and Sidney Pratten, Master Asscher Messrs. Emile Berger, Bsiim, R. Blaqrove and Charles Halle.

Single Subscription for the three Soirees, II. Is.; Family Ticket, admitting three persons to one Soiree, 1/. Is.; Single Ticket, 10s. 6d.; to be had of Mrs. Merest 7 Adelphi Terrace, Strand, W.C., and of all the principal Musicsellers.

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Tickets at the Musicsellers, and of Mr. Antnmmas, 6 Leixhton Grove,' Town, N.W.

ST. JAMES'S HALL.—MR. JOHN FRANCIS BARNETT begs to announce that his GRAND CONCERT will take place at the above Hall, on Thursday evening, May 22.

Tickets may be obtained at the principal Musicsellers, at the Hall, and of Mr. Bar. nett, 21 Brecknock Crescent, Camden Road, N.W.

SIG. GIULIO REGONDI and HERR LIDEL have the honour to announce that they will give an ORCHESTRAL CONCERT at the Queen's Concert Rooms, Hanover Square, on Wednesday evening, May 14, 18G2, to commence at half past eight o'clock precisely. Vocalists: Mile, Parepa and Mr. Santley. Instrumentalists: Harp, Mr. Bolbyne Reeves; Guitar and Concertina, Sig.Guilio Reqond!; 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 I

f Herr Lidel, 9 Osnaburgh Terrace, Regent's Park, N W.

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L_ Co. U... ., .it lite Horm Assembly Rooms, Kennington Park.

THE MISSES HILES, Soprano and Contralto (Pupils
of Slgnor Pinsuti), are In Town for the Season. -
All communications for Engagements may be addressed to Mr. Jarrett. Musical and
Concert Agent, at Messrs. Duncan Davison & Co., 244 Regent Street, W.

THE SISTERS MARCHISIO in " Semiramide."—Mile.
Cablotta Marchisio and Mile. Barbara Marchisio will make their dibut at
Her Majesty's Theatre, on Thursday next, May 1, In the Opera of " Semiramide."

Applications, relative to Engagements for public and private concerts, to be addressed to Mr. Land, 4 Cambridge Place, Regent's Park.

MISS ARABELLA GODDARD begs to inform her Friends and Pupils that she has REMOVED to No. 26 Upper Wlmpole Street, Cavendish Square.

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LD MUSIC.—Theoretical Works, Sacred Music,

Operas, &c on Sale, very cheap, at G. A. Da Vies, 120 Wardour Street (eight doors from Oxford Street). Catalogue Gratis.

COLLARD AND COLLARD'S NEW WEST-END ESTABLISHMENT, 16 Grosvcnor Street, Bond Street, whero all communications aro to be addressed. Pianofortes of all classes for Sale and Hire.

City Branch, SO Cheapside, E.C.

THE MUSICAL STUDENT'S MANUAL, Combining the Essential Elements of Musical Knowledge, with n succinct guide to the reading of Vocal Music, by Thomas Mcbby, Editor of the "Golden Wreath," "New Tunes to Choice Words," &c. Div. I.—Relating to Sound, pp. 130, price 2s.

Div. 1L—On Rhythm, to complete the Work, will be published shortly. The " Manual " Is used as a text-book at the Borough Road, Stockwell and Westminster Training Colleges.

"One of the best elementary books for learning music, as a science, that wc have yet seen. It is very cheap."—Globe.

"The subject is treated with clearness and ability. The difficulties of almost every page are cleared up as the journey proceeds, and the learner feels himself In company with a fellow-student, who, being slightly In the advance, blandly beckons him on."— Clitic,

u New Tunes to Choice Words." Second Edition. 32 Easy, Original, Juvenile four-part Songs, cloth Hvo, Is. txl.

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

Messrs. Boosey & Sons, 29 Holies Street, W.; Messrs. Groosjhridue d Sons, Paternoster Row.

JFINCH AM, Organ-pipe Maker, Voicer, and Tuner, » 110 EUSTON ROAD, LONDON.

Amateurs and the Trade Supplied at the Lowest Terms.

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TO COMPOSERS ABOUT TO PUBLISH J. H. JEWELL. Music Publisher, undertakes the Printinf and Publishing of e description of Musical Work, greatly under the usual charges. Estimates giren.

104 Great Russell Street, Bloomsbury, W.C. near the British Museum.

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

Price (any note) 2s. Gd. Post-free.
Boosky & Chino,24 Holies Street, W.

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

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

London : 18 Hanover Square.

ERNST PAUER'S Newest Composition, "Euryanthe." Transcription for Piano, Price 4s., post free for 94 stamps.

STEPHEN HELLER. Op. 98, Improvisata on Romance, by Schumann. Price 6s., post free for 36 stamps.

FARMER'S Premiere Valse Brillante Price 3s. 6& post free for 21 stamps.;

The abo»e celebrated works are just published by Farmer & Frdwirth, 7 Grosrenor Street, Bond Street, W. ,

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—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 "composite."

"Lays of the Olden Time " — new series, freely transcribed for the pianoforte, by Theodore Klllak (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" ("Lai/ 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 himself. 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 " Liitzow'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 piu"), and such a heart-felt thing as Mozart's "Die Zufriedenheit." It is "Nel cor piu" with a vengeance; but "piu" what, we must leave the modern Cardanus who prepares the Encomium Kullakii to decide.

"La Bruuere," Caprice Su^dois, pour piano, par Joseph O'kelly;

"Le Depart de VHelvitie" 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—" Suedois" We can apprehend nothing "Swedish" in its bearing, but are nevertheless constrained to admit its liveliness. The "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 abbundonamenio" (which is a substantive) ?—or, at all events, abbandonatamente (which is an adverb)?—or at any rate abbandonevolmente (which is another)? If Mr. O'Kelly thinks to abbarbagliare the English public with such mixed 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 IWuc (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 astream 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 (bad Italian—" il melodia ben marcalo." It is, nevertheless, a bat of some water, if not some fresh water.

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MUSIC AND THEATRES IN VIENNA. . (From our own Correspondent.') 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 Hen-en Bott, Findeisen, Rohring, 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 neglectfulncss, 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 sincerely 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 Bott, 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-Josefs Kai. Trifles light as air, such as Offenbach's operettas, are not suited for the larger establishment on the Wien. If ho 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 company of the other house ; that would be a greater pity. He cannot keep on both. I greatly fear that, in changing his quarters, he would 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 j it is, even now, very good, and might, with a little trouble, be made unusually so. In Herren Rott, Findeisen, Albin Swoboda, and Rohring, 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, suddenly 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 good salary and full power, at its head. I am sure it would prove an 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.

In the way of opera there has been no novelty for some time here, and the only important revival is that of La Filte du Regiment, in which Mlle. Liebhardt sustained the port 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 Frtischutz, Margarethe, Grafin Fgmont, and Maria di liohim. 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 soirics, 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 Vicnxtemps, the king of the violin, and Servais, the king of the violoncello, two prodigious artists, in a word, who appear to have stolen, from the chefa-dauvrc 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' oeuvre, 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

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