the grave events at present agitating Europe and America. But for these, one of the two artists would now be at New York, and the other at St. Petersburg. We will not go into the details of their marvellous execution, we will simply state that, for more than two hours and a half, the audience hung, as it were, upon the magic bows of Vieuxtemps and Servais. The andante especially of Beethoven's Quartet excited transports of enthusiasm—Servais was admirable; and at the conclusion of the evening their duet from Ias Huguenots, called forth a perfect storm of frantic applause.

Servais and Vieuxtemps were to have left this morning, but there will be, probably, another quartet soiree, in consequence of the success of the first. On all sides, the audience, before leaving the room, asked for a second performance. It is generally believed that the two artists cannot refuse compliance with a wish so universally expressed, and that to-morrow, Wednesday, at one o'clock, there will be a second and last quartet stance in the concert-room of the Grand Theatre. In spite of Passion-week, the concert-room will be crowded, for is not music, also, a prayer? Music is holy and sacred; it is, as it were, a wing, which God has given us in order that we may rise by it up to Him; and when men truly inspired interpret the grand creations of genius, they elevate the human soul, purifying, ennobling, and separating it from the earth to cast it forth into the Infinite: their talent is a sermon. I can assure you, ladies, who, for now nearly forty days, under pretence of listening to so many sermons, have filled the church of Notre Dame with your velvet cloaks, and your rich cashmeers, with your spruce new bonnets and your lace, that Servais and Vieuxtemps might preach, perhaps, with more advantageous results than the Rev. Father Minjard.—J. Sautt-rieul-dupouy.{Courier de la Gironde, April 16).

Poses.—Herr Hans von Biilow and Dr. Leopold Damrosch gave a concert on the 5th inst. The latter gentleman, although a native of the town, and formerly a pupil of Herr FriShlicb, once a fashionable local teacher, was professionally unknown, and great curiosity was manifested to hear him. Tho concert opened with Beethoven's Kreutzer Sonata. Herr von Biilow and Dr. Damrosch then played Franz Schubert's magnificent duet in B minor, which was warmly applauded. Herr von Biilow followed with a series of dances, arranged in chronological order, and ending with Chopin's "Tarantella" and Liszt's' " Talk impromptu." There were various other instrumental pieces of more or less importance. Mile. Marie Holland, of the opera,

was the vocalist A course of four concerts was lately given, in the

large room of the Bazaar, by Herr Bilse, from Liegnitz, with his own orchestra. The attendance was extremely good.

Konigsbkko —Herr Kiister's oratorio, Die ewige Heimath, was performed by the Gesangverein, under the direction of Herr Wiegers, on the 8th inst.

Baden-baden.—The subject of Berlioz's opera, composed for the opening of the new theatre, is taken from Shakespeare's comedy of Much Ado about Nothing. The second novelty will be the opera of Erostrates, by Herr M. E. Rcyer.

Dresden.—On Palm Sunday, Cherubini's Requiem and Beethoven's Ninth Symphony were performed at the Theatre Royal. There were, during the past theatrical year, 339 performances at this establishment, and they consisted of—172 operatic representations*lncluding 11 given by the Italian company, under Sig. Merclli; 26 representations of farces and pieces insterspersed with songs ; 209 of dramas, and 13 of ballets. There were 24 novelties, of which five were operas, vaudevilles and farces; 19 dramas ; and 2 ballets. In the way of revivals, there were 9 operas, 11 dramas, and 1 ballet.

Stuttoakdt.—At the Seventh Subscription Concert, in tho Kbnigshau, Schumann's Parodies und Peri, which is a novelty here, was performed with success. M. Molique's oratorio of Abraham was given on Palm Sunday.

Munich.—Sophocles' Antigone, with Mendelssohn's music, has been revived. The house was crowded in every part, and the applause both loud and frequent.

Rome.—After working on them for many years, M, Mathia, one of Thorwaldseu's best pupils, has just completed the busts of Beethoven, Gluck, Mozart and Palestrina, together with, the appropriate consoles, for the Grand Princess Helena of Russia. The bust of Beethoven is supported by Zeus; that of Gluck, by a figure of Psycho; that of Mozart, by the three Graces; and that of Palestrina, by singing angels.

St. Petersburg. — Herr Davidoff has played on several occasions, since his return from Germany, before the Empress and the Grand Princess Helena, and, on the 12th ult., appeared at the concert given by the Russian Musical Society. On the 15th ult., he and Herr Becker gave a concert, which was attended by all the imperial family, and the pick of St. Petersburg society. There has been a great deal said about a performance at Ant. Rubinstein's, of Mendelssohn's Octet, with the

following artists: — First violin, Jean Becker; second violin, Henri Wieniawski; third violin, Pickcl; fourth violin, Albrecht (from Leipsic); viola, Albrecht II. and Weickmann; and violoncello, Carl Schubert and Davidoff. Herr Davidoff has also given highly successful concerts in his native town, Moscow. The Russian journalists are loud in their praises of their celebrated countryman.

fetters to tbc debitor.


Sir,— Your reviewer having done me the honour of noticing a few of my compositions in your journal, permit me to inform that gentleman, that while he has — unwittingly, perhaps—paid a high compliment in characterising my music as "Schumanistic," he at the same time has made a statement from which one might infer that he was in my confidence to at least the extent of my studies I beg leave to assure him, that "Schuman's Mannerisms" I am unacquainted with, "Schuman's music " I have never studied, "Schumanism " I am ignorant of; and all I know about Schuman is, that, of the most able continental musicians, three-fourths at least esteem him as one of the greatest composers of this century; the remaining fourth, and a clique in England, entertaining those miserable narrow-minded prejudices which have stunted the genius and checked the hopes of much rising talent, they — Heaven alone knows why — condemn the man!

In justice to your reviewer, I must, however, state, that he alone has not traced in mo this mysterious "Schumanism." Fourteen years ago, or ere I had even heard of Schuman, the Athanaum, in a review of my first publication, fancied me "a disciple of Schuman ; " and early this year, the learned Professor at Oxford, Sir F. G. Ousely, in a letter to me, noticing my recent publications, observed, "there are passages in one or two of your works which remind me of Schuman's style; and I am glad of it, for I feel sure his music is not half appreciated in England!"

As for the rest of the critique—the objections to my " progressions," &c. —it is but the old story of "the law and the prophets." The impossible operation of raising that " theoretical tower" commenced centuries ago, but long since became a " Babel," through the confusion of hypotheses as well as tongues—the old apparitions of the peruke and horn-book. The antagonism of Richard Wagner to " the tyranny of the tones" is not without its significance. Modern tonality dates only from the sixteenth century; and though, from usage, it may appear impossible to tolerate any variation of it, there is nevertheless no reason why music should stand still, while in every other art and science there is evident Progression. It is an age of activity, and genius will not be circumscribed by a line of demarcation. It must be remembered that, if the system of tunes had experienced no variation, the science would have attained to its utmost limits nearly three centuries ago. And are we wiser in our generation than the purists of 1590, who inveighed so fiercely against the prejudged heresy of Charles Montevcrde, for daring to use the " seventh," and even the " ninth," of the dominant, openly and without preparation, and employing tho minor fifth as a consonance, which until then had been always used as a dissonance? Mouteverde was as much in advance of his time, as Wagner appears to be of this era. Yet this statement seems anomalous, when we read that Wagner's "modern doctrines " are precisely the same as those held a century back qy the now idolised and unimpeachable Gluck. Without doubt, by this time I have become in your eyes a confirmed heretic, " hopelessly wandering in the wrong path." Whatever be my path, I find it more comfortable than the old miry way, with its indispensable ornamentation for the traveller of gyves, manacles, and such-like undesirable incumbrances. In conclusion, I think I could pair with every "objectionable" progression of mine a counterpart from Bach, Mozart, Beethoven, and Mendelssohn. Your reviewer advises me to study Mozart (have done so since childhood). This recommendation of individual models is unwholesome. I remember that, some years back, the Musical World put Mendelssohn forward (than whom, save Spohr, there never was a greater mauncrist) as a model for young musicians. The advice was taken, and from that day to the present natural instincts have been turned aside, and young composers are receiving as their reward accusations of "plagiarism," "mannerism," "Mendclssohnism," until the poor bewildered aspirants find themselves in the undelicious condition of " Doltism."

Surely if Beethoven, or Meyerbeer, or Berlioz had succumbed to the opinions of the critics, to the scholastic paradoxes, the hypothetical subtleties, the heavy yokes of those Jeremiahs, the schoolmen of the art, we should never have got the C Minor Symphony, the Rasoumowski Quartets, or the Huguenots, or Robert, nor yet the Senvenuto Cellin Prelude, or the Romeo and Juliette Symphony.

It were well, Sir, that the fame plan were adopted in your journal that is employed in the musical journals of France and Germany, viz, that the reviewer would kindly submit his name with his critiques; then would your readers be enabled to estimate the opinions expressed at their real worth.

I am, Sir, your obedient servant,

Wm. V. Barbe, Mus. Doc.

22nd April, 1862.


[The subjoined letter, remarkable alike for unaffected eloquence and good feeling, has been addressed to the Gloucester Journal by a fellow-student, of the late Mr. Thomas, in the Royal Academy of Music. It is with sincere pleasure that we reproduce it in the

columns of the Musical Wori.d.1

J i "To the Editor of the Gloucester Journal.

"Sib,—The inhabitants of Gloucester will, I cannot but think, feel interested by some slight account of the great and rare talents possessed, and promise given, by the late George Hale Thomas, who was a native of their city, and whose death occurred there on the 5th of the present month. I therefore venture to write these few lines, as a tribute of affectionate respect to his memory, having been his followstudent daring the entire period that he was at the Royal Academy of Music. He first came to the Royal Academy in December, 1856, and competed for the King's Scholarship; at his examination he received from the board of examiners much eulogy and encouragement. In the following January he entered the institution as a student, and pursued his studies with great diligence. He composed several sonatas for the pianoforte, and one duet sonata for violin and pianoforte; also a setting of the Lord's Prayer, for soli voices and chorus, the concluding movement of which composition, a fugue, on the words 'For Thine is the kingdom,' was performed at an Academy Concert, in July, 1858, and was the first of his compositions brought before the public. In December of the same year he was returned as the successful candidate for the King's Scholarship; and there was then every reason to believe that he had a bright and glorious future before him. Everything was in his favour, he was young, he had given evidence of possessing a musical organisation of the highest excellence, and he was entitled to two years' gratuitous education in the Royal Academy. During these two years he made great progress, and achieved many fresh honours. A quartet, for stringed instruments, performed in June, 1859, and a solo, for a bass voice, 'Bow down thine ear,' performed in March, 1860, evinced his rapidly developing musical powers in composition ; and in June of the following year he brought forward the first movement of a pianoforte concerto, which, by the many points of striking beauty it possessed and by its masterly construction, appeared more like the work of a longpractised musician than that of a youth seventeen years of age ; the concluding movements of this composition he played at a concert in December of the same year, and they were characterised by the like excellencies of the former movement. Last year two new compositions from his pen were performed at concerts of the Academy—an introduction to the Opera Fair Rosamond, comprising a duet for soprano and contralto, a march, and chorus; also an overture, which was produced in December, and which was the last and most finished composition he ever wrote. Only those who had the privilege of hearing this work know how richly and rarely he was gifted, and how great was the promise which he gave of some day becoming one of the brightest ornaments of the profession to which he belonged. He was also, last December, returned as the successful candidate for the 'Potter Scholarship,' the benefits of which his lamented death has prevented him from receiving, A few days after the competition he left London, for the purpose of gaining health and strength, but alas 1 he was to return no more. He has been taken from among us before the promise of his youth could be fulfilled; and we not only mourn for the loss of one so highly gifted, but also for that of one whose amiability and intelligence caused him to be beloved by all who knew him. I am, Sir, your obedient servant,

"frederick Westlake. "Royal Academy of Music, London, April 15M, 1862."

Rotal Societt or Musicians.— The annual performance of the Messiah, for the benefit of the Royal Society of Musicians, took place last evening, under the direction of Professor Sterndale Bennett, at St. James's Hall.


The Cheltenham Philharmonic Society has given its first concert, which appears to have been an unusually good one. We append (with some unimportant curtailments) the notice of The Cheltenham Times (Ap. 19) :—

"A more brilliant audience has seldom been collected in our Assembly Rooms; nor during the seven years which this society has been in operation has its success been so unequivocal. Selections from Haydn's Creation formed the first part, and from the recitative, 'In the beginning,' by Mr. Mugford, of the Gloucester choir, to the chorus, 'Sing the Lord ye voices all,' the interest never flagged. 'Now vanish before the holy beams,' and more especially 'In native worth and honour clad,' found in Mr. Montem Smith, if not a forcible, a faithful and truly graceful interpreter ; nor did the efforts of the lady amateurs suffer in the comparison with professional attainments. The spirit-stirring manner in which 'The marvellous work' was rendered, showed of what material the Philharmonic is composed. The private character of the society precludes us from offering any detailed criticism; we may, however, be permitted one observation—viz., that another marked illustration was afforded of the superiority of artistic acquirement over natural gifts, and that the benefit conferred by the society was best recognised in those who are known to have been the longest and most patient under the influence of its teaching. A large measure of praise was fairly won by the band, which, under the valuable conduct of our accomplished amateur, Mr. E. Tennant, and the professional leadership of Mr. Henry Blagrove, has more than kept pace with the general improvement of the chorus. Of the second part of this concert we are enabled to speak with quite as much satisfaction as of the first. The ' Spring Song' of Mendelssohn, by Mr. Montem Smith, accompanied by Mr. Frederick Smith, who, so advantageously for the society, presides at the piano, elicited an enthusiastic encore. In the duet which followed, we were gratified to find that the society had obtained the advantage of Miss Julia Smith's services. The ' Anna tu pi.inge' of Rossini could, indeed, have scarcely been entrusted to other than professional hands. Its florid character was adapted to call forth that flexibility, correct intonation, and compass of voice, for which Miss J. Smith is distinguished; while in Mr. C. Tennant, Miss Smith received the most efficient support. Mr. H. Blagrove's solo (' Airs Varies,' by Vieuxtemps) met with a loud encore. The part song, 'Curfew bell's last breath is dying,' of Kteutzcr, as given by the chorus, was in itself ample evidence of Philharmonic'training. Indeed, the complete manner in which every piece was presented showed the care and the skill with which the rehearsals have been conducted, and should impress those interested in musical progress amongst us with the immense advantage offered to the learner, as well as to the learned, by the Cheltenham Philharmonic Society."

On Tuesday, April 22nd, a correspondent from Rochester writes as follows: —

"At the Corn Exchange a concert was given in aid of the Volunteer Band Fund, the result of which in every respect being most satisfactory. The vocalists were Mile. Florence Lancia, whose singing of Meyerbeer's Preghiera and Barcarolla from rEtoile du Nord was received with universal approbation, her pure and resonant voice being heard to great advantage. She also sang Frank Mori's new song, 'A thousand miles from thee,' for which, on being redemanded, she substituted the ballad from the Lily of Killarney, 'I'm alone.' Miss L frier was much applauded in "Ye maidens," from Dinorah, and Henry Smart's ballad, 'Through every chance and change.' She also sang the duet from Semiramide, "Bella imago," with Mr. Winn. Mr. Tennant's voice and style were much admired in a 'A young and artless maiden,' from Mr. Howard Glover's operetta, Once too Often, and in 'Eily mavourncen,' from the Lily of Killarney. He also gave evidence of his thorough familiarity with the Italian manner, by his rendering of the important tenor part in the Quintett from Verdi's fl Bulla in Matcher a, 'E scherzo.' Mr. R. Huggctt possesses a barytone voice of good quality. He is a native of Rochester, and made his debut on this occasion. He sang 'The wanderer' in a manner worthy of more mature years, and we may augur for him a successful future, shouldjhe continue his studies with the same method and perseverance. He also sang 'Mine, ever mined by Frank Mori (of whom, by the bye, he is a pupil), eliciting a most hearty encore. Verdi's celebrated Quartet from Rigoletto was sung in the course of the evening. The company, composed of the elite of Rochester and Chatham, seemed highly delighted. Mr. Frank Mori acted as conductor with his accustomed ability."

The subjoined well-written [and interesting report of the last concert of the Dublin Philharmonic Society (Mr. Russell conductor) is quoted, without curtailment, from the Dublin Evening Mail:

"It is an agreeable task to record that the concert of last Friday evening was, both in selection and performance, one of the best ever given in this country. To the Philharmonic we are indebted for the production of the works of the great orchestral writers which would be otherwise unknown among6t us, and hence would it be to be regretted that this society should amalgamate itself with any other, as it would thereby forego, in some degree, the object of its foundation. The Antient Concert Society is founded for the production of great choral works, and, by keeping a chorus together in weekly practice, was always prepared for the performance of oratorio; while the Philharmonic, by training an orchestra also weekly, provides a means of interpreting the symphonies and overtures of the greatest instrumental masters. Both societies in conjunction would lose the oneness of their object, and the advance of the art would be retarded. Besides, another phase of the Philharmonic, and by no means the least important, is the engagement of any great European artists, either vocal or instrumental, who may appear in London, thereby putting us on a par with the first city in the world. This last object was made manifest by the engagements of Mad. Guerrabella, Mr. Santley and Hcrr Pauer, for the concert under notice, upon which we shall now make some observations. The 'Jupiter ' symphony, with which the concert commenced, probably displays more genius and learning than any other composition of the class. Its proportions are colossal, its melody unbounded, and its ingenuity of device and combination almost marvellous; while the last movement—a fugue, with episodes on four subjects worked up together at the close, is wonderful from its clearness of idea and magnificence of construction. It is sufficient to say that the performance of this great work on Friday evening was the best we have heard in Dublin ; and though it lacked the close attention to light and shade, and the oneness in the massing which we have remarked elsewhere, yet on the whole it was a rendering that all lovers of music should be thankful for. The overture to Der Freischutz was also given most effectively, both works doing much credit to band and conductor. Mr. Suntley, who made his first appearance here, must have impressed the audience by the finish of his singing. He sang a romama, by Mercadante, with great power, exquisite feeling, and a largeness of tone we have seldom heard from any other singer. 'The Colleen Bawn,' from Benedict's last opera, he also gave with tenderness, and in a duo with Mad. Guerrabella, from Ernani, displayed a richness of culture, combined with extent of range, which must ultimately place him at the head of the barytones, no matter of what country, in England. Mad. Guerrabella is a soprano of considerable excellence. Her voice, which is of a very pleasing quality, is obedient and telling. Her method is good, and she must be found an acquisition both on the stage and in the concert-room. She gave, with purity of tone and style, 'Qui la voce' and ' I'm alone,' from The Lily of Killarnry; and in the duo, by Verdi, evinced dramatic instinct, with vocal training of the best order. There can be only one opinion of Ilerr Pauer as a pianist—and that is, that he is little inferior to any on that comprehensive instrument. What we particularly admire in him is, that notwithstanding the prodigious quantity of music he has studied, he has yet a style of his own, quite distinct from others. He does not possess the power, fancy, and poetry of expression which so distinguish the charming Arabella Goddard, neither the liquid brilliancy of Charles Halle ; but, nevertheless, there is an individuality in all that he does, and, no matter what composer's work he plays, he renders it with truthfulness and ease. Indeed, as a pianoforte player, he has few equals. On Friday evening he played Hies' concerto in C sharp—a beautiful work, little known, and one that wo arc thankful to him for disinterring —also compositions by Willmcrs, Thalberg, John Field, &c, all with equal grace and accuracy. Mr. Richard Smith deserves mention for his admirable singing of Meyerbeer's 'Aria del Cncciatore,' the horn accompaniments of which were carefully rendered, doing much credit to the society. Herr Eisner's violoncello obbligatolo Mr. Santley's song also calls for a word of praise. On the whole, the concert was one worthy of the antecedents of the Philharmonic, and likewise one which shows that the society is worthy of the generous public support it receives. We are happy to see from a report now before us that the subscribers have largely increased anil are continuing to increase in numbers, and that, notwithstanding the expenditure necessary in keeping together a permanent band, and likewise the great cost of engaging artists of European celebrity, the Philharmonic has a considerable balance in hand to the credit of the society at the end of the 35th season. This enables the committee to act with that generosity which they manifested last week in giving up their own night to the Amateur Opera Recital, though by so doing they evidently lessened the attendance at their own performance. However, a society so well directed as

tho Philharmonic can afford these risks -, and, if it prove nothing else, it proves that it is more anxious for the progress of music than for asserting its own claims to be foremost in the cause."


The magic words " Sims Reeves " having enticed to the Crystal Palace I last Good Friday more than 50,000 persons, the directors suspected that they could not provide a surer attraction this Good Friday; and the name of our great tenor in consequence figured conspicuously on all the spare walls of the metropolis and suburbs for eight or ten days, whereby the public was informed that Mr. Sims Reeves would be heard in some of his grandest performances for "one shilling." The Lord Chamberlain could not interfere — Sydenham is beyond his jurisdiction — and indeed if he could, this year would not: all London was playing holiday; and, as the day for the majority did not necessitate the same religious observances as Sunday, a trip to the Crystal Palace, with "Sims Reeves " in the background, was sufficient to tempt an enormous crowd, between 40,000 and 50,000 persons, not more than half of whom, however, could get within hearing distance. But how otherwise? How could 45,000 persons sit down comfortably and hear one singer, who, had he the voice of Stentor, must be inaudible to some of them? No living singer can send forth tones from his throat with more power and more telling effect than Mr. Reeves; but there is a limit to the voice of thunder. However, those who were seated near enough — viz., all indeed who were in tho centre transept, within view of the theatre in front of the "Handel Orchestra," and in the galleries — in fact, the entire audience, except such as were far down the aisles, or shut out from the approaches — were excited to the highest pitch of enthusiasm, and made the crystal walls and roofs reverberate with acclamations. Mr. Reeves never exerts himself more zealously than when singing before a crowd. His genius catches fire from a vast assembly, and his powers augment as his audience grows bigger. Certainly Sims Reeves is the singer for the million, not only because he can sing, but will sing; and herein lies the secret of his unexampled popularity. Mr. Reeves's performances were "Comfort ye, my people," with its florid pendant, "Every valley shall be exalted," from the Messiah; "Lord, remember David," from the Redemption; and "The enemy said," from Israel in Egypt. In the air from the Messiah he had proved on the Wednesday previous (his first appearance at Exeter Hall since Christmas) that he was in splendid voice, after "roughing it," as the saying is, with Mad. Lind-Goldschmidt in the provinces for weeks; but now it appeared to us, he sang even with greater power — albeit the screaming of some female in the crowd, just as he commenced tho recitative, must have discomposed him. The air from the Redemption was delivered with exquisite grace and tenderness; but, as might be supposed, the effect was produced in the air from Israel in Egypt, which perhaps of all his Handelian efforts — not excepting "Sound an alarm" —is the singer's grandest achievement. This, in which Mr. Reeves seemed to throw double energy and force, created a furor, and the multitude only ceased from cheering when exhausted.

The other singers were Mad. Rudersdorff and Mr. Weiss. An apology was made for the lady by Mr. Bowley, on the score of "indisposition," and one of the pieces set down for her was omitted; but, as she had previously given "Let the bright Seraphim" with great brilliancy and effect (accompanied magnificently on the trumpet by Mr. T. Harper), the audience wero somewhat puzzled by the announcement. Mr. Weiss sang "Why do the nations," from the Messiah, and "The trumpet shall sound," both superbly. This part of the performance was preceded by Nicolai's sacred overture on Luther's Hymn, by the Crystal Palace band, under the direction of Mr. Augustus Manns, and the band of the Coldstream Guards, under the direction of Mr. C. Godfrey, and concluded with the National Anthem, the solos by Mad. Rudersdorff and Mr. Weiss. In the National Anthem, the Old Hundredth Psalm, and Haydn's "Evening Hymn," the audience took part, and the effect was very striking.

There were other musical performances (including pieces on the organ by Mr. Coward) at various periods of the day, before and after the Sacred Concert. Euough to say that all comers at all hours found agreeable entertainment. Notwithstanding the crowd, we did not hear of a single complaint, much less of an accident, so excellent were the regulations, and so admirable the conduct of the officials and police.

Moliqtje's "Abraham." — This great work has been performed with extraordinary success at Stuttgardt. The critics are most flattering in their praises. Next week we shall publish a full account, which has arrived too late for this number.


Regent Street had Piccadilly.


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E veiling, April 38, 1862. The instrumental pieces selected from the works of



Part I.—Quartet, in E minor (Op. 59. Vo. 2), for Two Violins. Viola, and Violoncello (dedicated to Count Rasoumowski) (first time this season), MM. Joachim, L. Ribs, H. Webs, and Piatti (Beethoven). Song, " Les Souvenirs," Miss Lascelles ( Meyerbeer). Notturno, " Puro del tranqullla none," Miss Banks and Miss I.ascellks (Paer). Sonata, in G major, Op. 31, No. I. for Pianoforte solo (first time at the Monday Popular Concerts), Mr. Cuarlfs Halle (Beethoven).

Part II Trio, in C minor (Op. 9, No. 3), for Violin, Viola, and Violoncello, MM.

Joachim, H. Webb, and Piatti (Beethoven). Song, " In my wild mountain valley," Lily of Kitlarney, Miss Banks (Benedict). Duet, "When the summer wind is blowing," Miss Banks and Miss Lascellei (Henry Smart). Sonata, in G (Op. 30, No. 3), for Pianoforte and Violin, Mr. Charles HALLE'and Herr Joachim (Beethoven). 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.

*v* Between the last vocal piece and the Sonata for Pianoforte and Violin, an interval of Five Minutes will be allowed. The Concert will finish before half-past ten o'clock.

N B. The Programme of every Concert will henceforward include a detailed analysis, with Illustrations in musical type, of the Sonata for Pianoforte alone, at the end of Part I.

Stalls, as.; Balcony, 3s.; Admission, Is.
A few Sofa Stalls, near the Piano, 10s. Gd.

Tickets tone had of Ms. Austin, at the Hall, 28 Piccadilly; OlArPBLL & Co., 50
New Bond Street, and the principal Musicselters.

TO CORRESPONDENTS. A Dutch Scraper.—Jews (or rather members of the Jewish profession) are not allowed either to sing or play at the concerts of the Felix Meeritis (the Amsterdam Philharmonic), but they are allowed to subscribe as auditors. A Dutchman, and more especially a "Dutch Scraper," should have known that. Silberschmidt.—The report of Mad. Goldschmidt Lind having given ~,40,000/. towards building a new music hall in the Strand has been denied.

Verdist.—Mad. Verdi has been here some time, aud we believe Sig. Verdi is expected. The "sortita guerriera" intended for Sig. Tamberlik was rejected. The Cantata is the property of whoever has purchased it, and will be heard by those before whom it is performed. A "solo" for any voice, under such conditions, would be absurd.

Bosch. "Unterschlagen geweson und nun zu Standc gcbracht." Bosh!


To Advertisers.Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magazine of Messrs. Duncan Davison & Co., 244 Regent Street, corner of Little Argyll Street (First Floor). Advertisements can be received as late as Three o'Clock P.M., on Fridaysbut not later. Payment on delivery.

_ f Two lines and under 2s. Gd.

it trms | Evcl.y additional 10 words Gd.

To Publishers And Composers.All Music for Review in The Musical World must henceforward be forwarded to the Editor, care of Messrs. Duncan Davidson & Co., 244 Regent Street. A List of every Piece sent for Review will appear on the Saturday following in The Musical World.

To Concert Givers.No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in The Musical World.

% Postal SBorfir.


PROFESSOR Sterndale Bennett's Ode—our readers will be pleased to learn—is not to be excluded from the

musical programme, on the 1st of May, at the opening of the International Exhibition. "The Cambridge professor," says the Times, "is not too great a musician to be a man of business. His score was ready on the 31st ult., and the vocal parts were even engraved. Nor is there any chance (as many apprehended) of the work being set aside. On the contrary, it will be rehearsed and performed under the direction of M. Sainton." In an article on the general preparations for the opening, which appeared in yesterday's impression, the Times makes the subjoined observations:—

"All sorts of statements and misstatements as to the unfortunate differences which have arisen as to who is to conduct certain portions of the music have been afloat for some time. Into these we certainly will not enter. The musical world has long made up its mind as to the merits or demerits of the quarrel, and if it had not we should never attempt to guide it to a decision one way or the other. Where there are many musicians no one expects harmony; so it is sufficient to say that this portion of the opening arrangements is complete."

Another morning contemporary—the Daily News—appears less satisfied with the result, if we may judge by the following article in yesterday's paper, headed " The Music for the Exhibition," and printed in "leader" type :—

"The difficulty into which the commissioners allowed themselves to be involved through Mr. Costa's refusal to conduct the performance of Dr. Bennett's music has been got over, 'after a sort,' by their having appointed M. Sainton to conduct this performance. Dr. Bennett received notice of this step having been taken without having had any previous information on the subject, and at the same time he received a courteous note from M. Sainton, expressing his hope that his appointment would not be disagreeable to the composer. Dr. Bennett at once acceded to the arrangement, and has since been occupied with M. Sainton in preparing for the rehearsal. So the matter is settled, and the public have reason to be glad that the joint labour of the first of English poct3 and the first of English musicians is not to be thrown away. But this, after all, is only cutting the knot, not untying it. It does not in the least justify the conduct either of Mr. Costa or the Commissioners—of the former in allowing a vindictive feeling, arising out of a private quarrel, to interfere with the fulfilment of a public duty which he had undertaken j or of the latter, in yielding to a stipulation imposed on them by Mr. Costa, which they ought to have indignantly rejected as an 'insult ; for it turns out that Mr. Costa had made it a condition of his acceptance of the office tendered to him, that he should be at liberty to refuse to conduct the performance of a work by Dr. Bennett; and, what is still worse, that Dr. Bennett should have been allowed to complete his task in entire ignorance that any such stipulation existed. Nor have the Commissioners acted rightly in their choice of a substitute for Mr. Costa. We have great respect for the character of M. Sainton, and great admiration of his taient as a performer on the violin. He has now and then conducted the' band at the Royal Italian Opera in Mr. Costa's absence, but he has never, so far as we have ever heard, conducted a great choral performance in his life. He is an able man, however, and we trust will get through the business creditably. But the whole musical world knows that, failing Costa and Bennett, there is one man who has a paramount title to the employment in question—Alfred Mellon—who is not inferior to cither in nil the qualities and attainments of a chef d' orchesti c, and who, moreover, is an Englishman—a circumstance not to be disregarded on the occasion of a great national celebration."

However, what musicians and amateurs in England will most care to be assured of is that the Ode of their honoured countryman will play the part originally destined for it at the Festival to which Great Britain invites all the peoples of the earth; and that if we cannot have a national conductor, we shall at least have a national composer to represent us. The Poet Laureate's share in the Ode is worthy the pen of Alfred Tennyson. Let our readers judge: —

"Uplift a thousand voices full and sweet,

In this wide hall with earth's inventions stored,
And praise th' invisible universal Lord,

Who lets once more in peace the nations meet,
Where Science, Art, and Labour have outpour'd

Their myriad horns of plenty at our feet.

"O, silent father of our Kings to be,
Mourn'd in this golden hour of jubilee,
For this, for all, we weep our thanks to thee!
, ",The world-compelling plan was thine,

And, lo! the long laborious miles

Of Palace; lo! the giant aisles,

Rich in model and design, ,

Harvest-tool and husbandry,

Loom and wheel and engin'ry,

Secrets of the sullen mine,

Steel and gold, and corn and wine,

Fabric rough or fairy fine.

Sunny tokens of the Line,

Polar marvels, and a feast

Of wonder, out of West and East,

And shapes and hues of Art divine!

"All of beauty, all of use,
That one fair planet can produce,
Brought from under every star,
Blown'irom over every main,
And mixt, as life is mixt with pain,
The works of peace with works of war.

"O ye, the wise who think, the wise who reign.
From growing commerce loose her latest chain,
And let the fair white-winged peacemaker fly
To happy havens under nil the sky,
And mix the seasons and the golden hours,
Till each man find his own in all men's good,
And all men work in noble brotherhood,
Breaking their mailed fleets and armed towers,
And ruling by obeying nature's powers,
And gathering all the fruits of peace and crown'd
with all her flowers,"

The allusion to the late Prince Consort was it happy after-thought of the Laureate's, and, we have reason to believe, has inspired the musician with one of the most impressive movements that ever came from his pen.

Those who care to refresh their memories with a history of the original dispute between Mr. Costa and Professor Bennett, will find it in the Musical World, April 16th, 1853. Punch also, shortly after, gave his version of the affair, which, being shorter, we can find room for, and, being good-tempered, will cause no offence:—

The Embroglio At The Philharmonic,

Done into verse by a very old Subscriber and Poet.

(From Punch )

"Stem J ale Bennett was Indignant with Costa
For not playing Bennett's Composition faster;
Costa flew into Excitement at Lucas
For showing him Bennett's Order, or Ukase,
Haughtily resigned the Seat which he sat on,
And Contemptuously told Lucas himself to Take the baton,
Moreover Stipulated this Year with the Directors
That Nobody was to read Him any more Lectures;
Also he made it a Condition strict
He was Only to conduct what Pieces of Music he lik'cl,
Whereby this Year Costa doth Prevent
Any performance of Music by Stenidale Benu'l;
Likewise Xcluding the young and gifted Miss Goddard,
Whom with admiration all the critic Squad heard ;—
All to be Deplored, and, without more Amalgamation,
The Philharmonic will Tarnish its Hitherto Deservedly High

For our own parts, we wish to live in peace with all the world; and, having washed our hands of the matter, have no intention to resift it.

TOHN SEBASTIAN BACH'S Grosse Pussiom-musik O nach dem Evangelium Matthiii* will shortly be per

• "Passion-music," according to the Gospel of St. Matthew.

formed, For The First Time (!), in Vienna, by the Singacademie. "The custom," says Die Recensionen, "of representing in a musical and epico-dramatic form the sufferings of the Saviour, during Passion week, is a very ancient one. In the Roman Catholic Church the plan pursued has, according to all tradition, invariably been for one singer to sing the narrative of the Evangelist, for another to deliver the words of Christ, and for others to give the dialogue of the remaining personages introduced; the people are represented independently by the choir. This plan throws the dramatic element far into the back ground, and places the music in a very subordinate position, since everyone taking part in the performance gives all that is entrusted to him in the simple, strongly marked choral tone, while, in conformity with a decree of the Church, all instrumental accompaniment is wanting. The 'Passion ' is connected with the ceremonies of the liturgy, and hence any dramatisation or musical development of the subject is impossible."

A very different course is adopted in the Protestant Church, in which the composer, hampered by no consideration imposed by the ritual, has a much wider field for his exertions. Protestant composers availed themselves, at a very early date, of the opportunity. But, however admirable were the works of Heinrich Schiitz (1585-1672), Sebastiani (1672), Kaiser and others, not one of them at all approaches the Passion nach dem 'Evangelium Matthiii, by John Sebastian Bach, the first performance of which magnificent production took place on Good Friday, 1729, in St. Thomas's Church, Leipsic. That the works published by Bach, under the title of Passions-musik, were subsequently allowed to slumber, for years and years, amid the dust of libraries is attributable to the wars and political troubles which burst out after his decease, and by the sad condition of musical matters for a time in Germany. We must designate as the real reviver of the Matthaus-Passion, Mendelssohn, who caused it to be performed on the 11th March, 1829, at the Berlin Sing-academie. Since then, the most celebrated vocal associations in Germany have vied with each other in performing it annually, with constantly increasing success. Vienna alone was left behind, even by many small towns as well as by the larger ones, and will not have atoned—let us hope in a manner worthy of her rank—for this piece of neglect till next Friday, the 18th April, 1862, at the concert of the Singacademie.

Very shortly, we hope to be able to present our readers with a musical analysis of the Passion according to St. Matthew, from the pen of a distinguished critic. As Professor Sterndale Bennett is likely to give the London public another opportunity of hearing this great work in the course of the ensuing summer, such an analysis will doubtless be perused with more than ordinary interest.


To the Editor of the Musical World.

SIR,—There is a great deal in the last number (19th April, 1862) of the Musical World, which managers and singers may read and re-read with advantage.

Firstly, the prospectuses of the two Italian Operas are specimens of bad taste, such as it may be hoped, after reading the capital article quoted from the Illustrated News, directors will never indulge in again. Nothing is more disagreeable—not even a barrel organ—to the ears and eyes of those who frequent the Italian Opera than bombast.

Next the farewell address of the directors of the Royal English Opera is the worst sense and the veriest bosh as a composition that was ever committed to paper. Miss

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