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Westonian sense of the word. A line, in season, may put a

ally after her first success in Lucia, that when she was announced for

Amina the Opera House was crammed to the ceiling. The character of stop to the farther presentation of testimonials to these

the somnambulist is peculiarly adapted to the childish, affectionate "enterprising” promoters of the consumption of ardent

nature of the young artist, which is evident in her appearance as well spirits, and destroyers of all that is healthy or worthy in as in her singing and acting. The very first scenes were sufficient to the art of all others most justly esteemed “divine.”

excite among the audience a feeling of the liveliest interest, mingled with the most sincere admiration of her surprising vocal fluency. Her

voice, thanks to its clear and bright tone, penetrates everywhere, and MLLE. ADELINA PATTI AT BERLIN.

completely fills the large space of the Opera House. Mlle. Patti underTo the Editor of the MUSICAL WORLD.

stands admirably how to husband her resources, and her execution is so

il unfailing, that even in the most difficult passages no fear is entertained Sir, -The most recent “great event” in the Prussian capital i for her success. We can recollcct no instance of staccata singing exbibithas been the first appearance of Mlle. Adelina Patti before a ing the same amount of perfection, while the shako' for purity and Berlin public. I may as well, without more ado, inform your case, has rarely been equalled. Each separate air was of itself a treat, readers that her success has been unequivocal, and that she pro while the concluding rondo, 'Ah! non giunge,' provoked a storm of mises to become as great a favourite here as elsewhere, wherever enthusiastic applause. Mlle. Patti's performance bore throughout the she has sung. Your own opinion of Mlle. Patti is sufliciently well stamp of a natural no less than an intellectual conception, and, in a known; but the readers of the MusiCAL WORLD may, perhaps, be word, combined the qualitics most requisite to make her a genuine public pleased to learn what the Brandenburgian critics here say of La favourite." pequeña señorita. I, therefore, append translations of a few ex

A third journal contains the subjoined :tracts from the leading papers. The Neue Berliner Musik-Zeitung

“ Mlle. Adelina Patti gained a second triumph in the Sonnambula. speaks as follows :-.

The house was crammed, and the applause, especially at the end of the “The reputation which preceded the fair young singer fully explains opera, was tumultuous. The celebrated finale was the pinnacle of suca certain amount of curiosity on the part of the public, but although | cess. Mlle. Patti's naturally delicate voice here appeared to grow various reports from the English and American journals, dealing es- stronger and stronger. It mounted, upon the boldest wings of tone, pecially with her capabilities, were pretty generally known, the public, through a succession of the most difficult runs, to an extraordinary on the whole, appcared as though undecided what to think. With re- height, as though no difficulties existed for it in such dizzy spheres. gard to Mile. Patti's reception here, it may be described as particularly Chromatic scales, on account of the virtuosa-like certainty with favourable, and if the enthusiasm did not reach that convulsive height which each note, together with the half-tones, succeeded the other, which we have seen it attain lately, on various occasions, the audience struck the musical auditor with astonishment. As a brilliant instance were most excellently inclined towards the débutante, a fact which was of this, we may mention her masterly shake, which is executed in the proved by their applauding and calling her on before the curtain. Adelina presto with magic rapidity, without a single tone being slurred over. Patti has been singing from the time she was eight years old, and, between With this mastery over the most difficult vocal difficulties, Signora Patti then and now, has brought the facility of execution, with which nature had | combines the high advantage of a vocal tone as clear as a bell ; her so richly endowed her, to a pitch of perfection which is something abso- | voice attacks the word and note at once, with a perfect absence of anylutely wonderful. Two years ago she made her first appearance on the thing like hesitation. Not the slightest suspicion of tremolo obstage as Lucia, as she has done here. The writer of this notice was pre scures the purity and beauty of her intonation. There can be no doubt sent on the occasion, and astonished at her soft and gentle method of of her being one of the very first lyric vocalists, and all lovers of art in taking the note, and the ease with which she executed the cantilena, as Berlin must feel grateful to Herr ron Hülson for having afforded thein well as the virtuosity' with which she achieved the most difficult pas- | an opportunity, before the inhabitants of any other continental city, of sages in fioriture. Since the evening in question, Mlle. Patti has become hearing so original, and, ia her way, so unique an artist.”. a celebrated singer. She has received homage both in the New and the

When the Trovatore was performed there was not a single Old World, and now appears here as a great artist, crowned with fame

| vacant seat in the house, so great was the desire to hear Mlle. and decked with laurels. That Adelina Patti is a phenomenon is a fact

Patti as Leonora. The public, therefore, shared with me the belief we may set down as indisputable. She overcomes material difficulties

that this performance would be one of the most brilliant of the with a boldness, rare even among Italian vocalists. Even admitting that

Italian season. The ticket-sellers reaped a rich harvest; as much her ornamentation is, here and there, not quite perfect, we still find plenty in her that is wonderfully beautiful and estimable in an equal

as five thalers were offered for a parquet ticket, about the price degree. Mlle. Patti is, in short, a first-class artist, who need scarcely fear a for which a good stall may be obtained at the Italian Opera in rival. Her voice is soft and agrecable in the upper notes, and if her

London. The frequent and hearty applause was in keeping with middle register has lost a portion of its former sonority, the reason is to

ta portion of its former sonority, the reason is to the crowded state of the theatre, and showed that public expectabe sought in the great exertion and restless activity to which she, al. / tion had not been disappointed. In short, the entire performance though so young, has had to submit, since she went upon the stage. exhibited a degree of excellence such as, probably, no previous reHler mechanism, however, is invariably marked by artistic certainty. To presentation of Verdi's Trovatore ever reached in Berlin, and such speak more especially of her Lucia, the great point of that performance as could with disliculty be surpassed in any other European capiis the grand air in the last act. This includes the graceful cabaletta, in tal. Mlle. Patti embellished the music of Leonora in lier own florid which she displayed her wonderful facility of execution in every possible

style, and, to quote the exuberant language of a Berlin criticrespect. In her future characters we have no doubt she will succeed in

crowned it with artistic and variegated tone-flowers, which, like raising the good opinion of the public to a pitch of enthusiasın, espe

sonorous arabesques, produced apparently without an effort, bloomed cially when she sings the part of Norina or Adina, when we shall have

on the delicate stalk of her voice, and twined upwards to the an opportunity of having her in her proper element. Like all truc artists, Mlle. Patti has characters especially adapted to her means, and greatest heights. This is flowery language- more flowery, may. among them we must class those in the lighter class of Italian operas,"

, bap, than that in which a sober English critic would indulge ; but

I give it as it is, to show you how successful the “ bijou prima Before proceeding to give any further extracts from the Berlin | donna" has been here. In fact, to sum the matter up in a word, press, concerning Mlle. Patti's performances, it is as well to pre

Mlle. Adelina Patti has been a decided "hit" in the musical capimise that in Lucia, owing to the want of an Italian tenor, “ Herr

tal of Prussia. Theodor Formes, the national tenor of Berlin", was compelled to

A, A.

Berlin, Jan, 2, 1862. undertake the part of Edgardo. This made the task of our little prima donna doubly arduous. Another journal, speaking of Mlle. Patti in the Sonnambula, ex

Miss Eleanor ARMSTRONG's Concert took place on Thursday even

ula, ex ing at Westbourne Hall before a full and fashionable audience. presses itself in these terms :

The

fair bénéficiaire, who is making rapid strides in her profession, sang two “ Although it must be admitted that, as a rule, the enthusiasm of the English songs, "A thousand miles from thee” (by Mr. Frank Mori, and public for Italian opera has cooled down, every artist of extraordinary rendered popular by the singing of Mlle. Florence Lancia), and the talent is sure to attract. Mlle. Adelina Patti inust indubitably be ballad of “Kathleen Mavourneen,” in so charming a manner that sponclassed in this category, and thus it could not astonish any one, especi. taneous encores were awarded to her after each. The young vocalist

was modest enough only to bow her thanks for the first, but the second * Brother to Carl Formes, the well known bass.

she repeated with increased effect. Miss Eleanor Armstrong also sang an aria from Roberto Devereux and the duet “Parigi O Cara,” from 16 feet (0); 3. Principal, 8 feet (O and N); 4. Mixture, 2 ranks (N); the Traviata, with Mr. John Morgan, in which she showed herself as 5. Trombone to FFF, 16 feet (O).--Summary of stops, great, 10; swell, accomplished an artist as she did in the songs of her native tongue. 11; Choir, 8; Pedal, 5; Copulas 4; altogether 38, being 8 stops addiMr. John Morgan gave Balfe's clegant ballad, “Fresh as a rose," and tional. Macfarren's “Guiding Star," with great effect. Mr. Viotti Cooper is a young and promising vocalist, but he must study hard before he arrives at the “ top of the tree.” He sang Mr. Frank Mori's ballads, “Rose of

SACRED HARMONIC SOCIETY. the morn” and “Who shall be fairest?" The other vocalists were Miss At the Christmas performance of the Messiah, on Friday night in Poole, Mad. Louisa Vinning, Miss Lascelles, Miss Bradshaw and Mr. last weck, the “Dead March " from Saul was played between the Gadsby, who, we need hardly say, ably fulfilled the duties allotted to first and second parts, and the ball was fitted up in a manner apthem in the programme. Mr. G. F. Kiallmark and Miss Catherine

propriate to the occasion, the oratorio having been postponed as a Thompson were the pianists. The gentleman played a fantasia by

mark of respect to the late lamented Prince Consort, a stanch Thalberg, and the lady a classical morceau by Beethoven and “Les

patron of the Sacred Harmonic Society, and, as every one knows, Arpèges of Theodore Kullak. A violin solo by Herr Louis Ries com

a distinguished musical connoisseur. During the performance of pleted an interesting musical evening.

the "Dead March" the audience stood up, and the effect was in The Sisters MARCHISI0.—Mles. Carlotta and Barbara Mar

the highest degree solemn and impressive. The principal singers chisio again appeared on Saturday afternoon, at the second and

were Mlle. Guerabella ( soprano ), a new and valuable aclast of Mr. Land's concerts in St. James's Hall, and more than

quisition to the concerts of sacred music at Exeter Hall; Mr. confirmed the highly favourable impression created by their

| llenry Haigh (tenor), whose fine-toned voice is always welcome, début.On this occasion they introduced two duets from Semi

and who could not possibly study in a school more likely to lead ramide-viz., “Serbami ognorand “Giorno d'orrore"- and an

to excellence than that of Handel; Mad. Sainton-Dolby, and original Bolero, composed expressly for them by Rossini. It iss:

Signor Belletti, whose names it is sufficient to mention. Mr. difficult to imagine duet-singing more irreproachable. The resultě

Costa, as usual, conducted. The hall was crammed to suffocation. of combination in musical performance could bardly be carried to a greater degree of perfection. The two voices, ----although one is a | Reeves in the tenor part, the other singers being Mlle. Parepa and

Last night Haydn's Creation was to be given, with Mr. Sims soprano, and the other a contralto,-appear to possess some occult

Signor Belletti. quality in common, which when they are heard togetherso thoroughly assimilates their individual tones, that, even in part-singing, where there is no unison to help the illusion, the effect is equivalent to

Letters to the Editor. harmonious concords produced upon a single instrument. Such precision, indeed, as the Mlles. Marchisio exhibit has rarely been at. tained. No mechanical contrivance could surpass it. They begin

OPERA OR PANTOMIME. and end a pbrase, roulade, or “cadenza” as if but one mind and Sir,---Those who, like myself, have opportunities of visiting our one impulse directed the utterance of the two voices, and as if to national opera only during the Christmas holidays, are sure to suffer a vary from each other to the extent of the nicest perceptible grada- disappointment. They go to listen to music, and instead only see tion — "the shadow of a shade" - was not within the range of

pantomime. Last year they went with the praises of Balfe's opera possibility. The simile of the poet, comparing two brothers who

Bianca sounding in their ears, and found, instead of a grand opera, have no sympathies apart to “two cherries growing on a single

the smallest and lightest of operettas, The Marriage of Georgette, stalk," might, without any great stretch of propriety, be applied

embracing the services of two vocalists only; the remaining performto the Sisters Marchisio in their musical capacity.

ance being a pantomime, which, loving music, they could not enjoy, and The audience

would not stay to witness. But for the Monday Popular Concerts were just as much delighted as on Thursday evening, and applaud

those who sought enjoyment in music would not have had their tastes ed all they did with indiscriminate warmth, the piece most unani

gratified. This year I observe that Balfe's new opera has not been dismously adınired being as before, the delicious slow-movement, placed but shortened, to make room for the pantomime; musical people “Giorno d'orrore."

will wait then until the work can be heard in its entirety. I read with In other respects the programme bore a strong family likeness pleasure the following in one of the morning papers: “No one who was to that of Thursday, most of the same artists taking part in it, with present at this thcatre (Covent Garden) last night (Dec. 26) would the addition of Miss Arabella Goddard, who was recalled after | have doubted that the English public prefer operatic to pantomimic Liszt's fantasia on the quartet from Rigoletto, and obtained a still performances, for while the latter were frequently interrupted, the former more honourable success with the variations and finale from Bee. were listened to with breathless attention, and appreciated, the best thoven's sonata dedicated to Kreutzer, in which she enjoyed the

morceaux being rapturously encored. The house was crowded from advantage of M. Vieuxtemps' invaluable co-operation, which were

floor to ceiling ...... and notwithstanding it was boxing-night, magnificently played on both hands, and as our clear and well in

this crowd, as we have already observed, listened with silent attention

to the whole performance of the Puritan's Daughter. Of course there formed contemporary The Sunday Times relates"as keenly

must be some unusual attraction on boxing-night at the Royal English enjoyed as anything in the entire concert." How, indeed, could it

Opera as well as at other theatres. Well, Sir, let there be a new be otherwise with two such artists?

English opera on a subject that has not already been exhausted at some Sr. Mark's ChurcU, MYDDELTON SQUARE, PENTONVILLE -- The fine

other theatre; let it be supported by these three first-rate English organ in the above church, one of John Gray's best, having been remo- dramatie sinsers. Mr. Sims Reeves for tenor. Miss L. Baxter for condeled by conversion of manuals to CC compass, and the addition of a Five

tralto, and Mr. Weiss, bass, not yei included in the company at our Stop Pedal, will, as per advertisement, be reopened on Thursday evening,

national opera, in addition to the two already engaged there, Miss L. January 16th, 1862. Mr. Dawes, the lately appointed organist, will

Pyne and Mr. Santley; and the result would be that the theatre would during the service play first movement of Reich's Flute Concerto, and

be filled, not merely for a few nights by the followers of clown and after the sermon perform a selection from Handel's Suites de Pièces. The

pantaloon, but night after night and week after week, by the crowds following is a list of the stops : - Great Manual CC to F in Alto 54

who attend the performances of the Sacred Harmonic Society at the Notes. - 1. Open diapason, 8 feet pitch; 2. Ditto, 8 feet pitch; 3. Stop

TOP | Royal Italian Opera, and wherever and whenever good music may be

Boy diapason, 8 feet pitch; 4. Principal, 4 feet pitch; 5. 12th, 3 feet pitch;

| heard thoroughly well performed. In this way too our national taste 6. 15th, 2 feet pitch; 7. Sesquialtera, 3 ranks; 8. Mixture, 2 ranks; 9.

would not be impugned, whilst our national opera would be elevated. Trumpet, 8 feet; 10. Clarion, 4 feet. Choir Manual CC to F.--1. Open

A Young MAN FROM THE COUNTRY. diapason, 8 feet; 2. Dulciana, 8 ten C.; 3. Stop diapason, 8 ten C.; 4. Principal, 4 ten C.; 5. Flute (open wood), 4 ten C.; 6. 15th, 2 ten C.; 7. Cremona, 8 ten C.; 8. Bassoon, 8 ten C. Swell Manual CC to F.

NATIONAL ENGLISH OPERA. 1. Bourilon Bass, 16 feet, pitch (O); 2. Double dulciana, 16 feet, pitch (O); 3. Open diapason, 8 ten C.; 4. Dulciana, 8 ten C.; 5. Stop diapa

(The English Opera Association, Limited.) son bass, 8 ten C. (O); 6. Stop treble, 8 ten; C. (O) 7. Prinicpal, 4 ten C.; Sir,-From your leading article in last week's MUSICAL World the 8. Stop'd fute, 4 ten C. (N) wood; 9 Mixture, 3 ranks (N); 10. trum- public are led to understand that, although there are to be three Italian pet, 8 feet, ten C.; 11. Oboe, 8 feet, ten C. Pedal CC to D, 27 Notes. Operas this season, English Opera is not at all likely to find a home in -1. Open diapason (wood) 16 feet, (O and N); 2. Violon. (metal). this vast metropolis. Perhaps you may have overlooked the fact that a

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company under the limited liability acts was duly registered a few

BRINLEY RICHARDS' months ago, the objects of which are, as stated in the preliminary pro• spcctus" For establishing and perpetuating a National Musical Insti

LATEST AND MOST FAVOURITE WORKS tution, for producing and maintaining on the English stage the best works of native composers, and adaptations from the French, German,

FOR THE PIANOFORTE. Italian, and other schools, in an effective and complete manner.” This association-and of which I am a member-already numbers amongst its shareholders the names of almost every English operatic composer of eminence, many of the principal singers, instrumentalists, and other | In Memoriam. H.R.H. the Prince Consort. ... ... ... Elegy 3 0 artists ; and a large number of powerful patrons, influential supporters, The Mountaineer's Lav from The Burlington Album." 1862: 2 6 and shareholders. From various causes, which it is unnecessary for me

What are the Wild Waves, ... ... ... ... Solo, 3s. ; Duet 4 0 at present to enumerate, the promoters of the association have not yet issued any advertisements or announcements to the public ; but of this

The Echoes of Killarney, introducing “ The meeting of the you may rest assured, that when the proper time arrives for so doing,

waters” ... ... ... ... ... ... ... ... ... ... 2 6 the present stigma upon our National English Opera will be withdrawn. Welsh Fantasia (North Wales) ... ... ... ... ... ... ... 4 0 The prospectus of the association might have been before you at the

The Echo of Lucerne ... ... ... ... time you wrote the article referred to, when you state “Let us suppose

Warblings at Eve ... ... ... ... .... an English manager to have the means or the will to procure the fol

Solo, 28. 6d.; Duet lowing company of native artists," &c.; then follow the names of Miss

Louise, Nocturne ... ... ... ... ... ... ... ... ... ... Louisa Pyne, Midmes. Sherrington and Parepa, Messrs. Reeves, Weiss, The Dream of the Wanderer, Romance ... ... ... ... ... 26 Santley, &c. &c. (Most of these talented artists, I am glad to say, are The Young Recruit (Kücken) ... ... ... Solo, 2s. 6d.; Duct 3 0 shareholders in the association.) The prospectus states “ The English

Chime again, beautiful Bells... ... ... ... Solo, 28. 6d.; Duct 3 0 Opera Company will have ample capital at command to place upon the

Première Tarantelle, dedicated to C. Hallé ... ... ... ... ... 5 stage the choicest works of the great masters; to foster and encourage the production of new operas and musical works ; to give permanent

Capriccio in G by Handel, being No. 35 of “The Classical engagements to a large number of our most talented composers, poets,

Pianist” ... ... ... ... ... ... ... ... ... ... 2 6 singers, instrumentulists, scenic and other artists; and to present to Her bright Smile haunts me still (Wrighton) ... ... ... ... 2 6 the public a perpetual succession of operatic performances.”

La Carolina, Souvenir de Naples ... ... ... ... ... ... ... 2 6 Trusting you will excuse the liberty I have taken in drawing your

Fading Away (Anne Fricker) ... ... ... ... ... ... ... 2 attention to the subject,--I am, Sir, yours, &c.

A SHAREHOLDER.

Truth in Absence (Harper) ... ... Solo, 28. 6d.; Duet January 8/h, 1862.

Recollections of Wales (Welsh Airs) ... ... ... 12 Nos., ca. 3 0

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BOOSEY AND SONS'

CIIRISTMAS PUBLICATIONS.

Mr. RICHARDS performed his two Pianoforte Fantasias, entitled North Wales' and "South Wales,' both of which were encored. These pieces, in which several of the most beautiful melodies of both divisions of the Principality are charmingly treated, have been recently published, and have been received by the public with great and deserved favour Mr. BRINLEY RICHARDS performed a · Capriccio' in G major by Handel-a piece which, besides being a fine specimen of the illustrious master's style, is also a musical curiosity, having been till lately quite unknown to the Public. It has been printed by Dr. Rimbault in the appendix to his great work on the Pianoforte from a copy in the handwriting of Smith, the composer's amanuensis. It bears the date of 1720, and is said to have been written for the Princess Amelia. It has now likewise been publised in The Classical Pianist.' "-Mlustrated London Neurs, Jan, 4, 1862

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- The Daily News, in speaking of Mr. HENRY LESLIE's first Concert, says:" These Rooms were opened to the Public for the first time, after undergoing an amount of repair and redecoration which has given the building quite a new aspect. The Great Room, filled with Company, and brilliantly lighted up in a new and most tasteful manner, bad an appearance of elegance, cheerfulness, and comfort, certainly not equalled in London, and probably not excelled in Europe."

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D MUSIC for 1862. Price Is.; or splendidly bound, gilt edges, 2s. 6d.
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with pianoforte accompaniment. Price One Shilling. DOOSEY and SONS' NEW JUVENILE SERIES.

D Price One Shilling each, in fancy covers, or Two Shillings each in extra cloth gilt letters and edges ; forming most beautiful and suitable presents for the approach ing season.

1. THE GOLDEN WREATH, containing 28 Songs, with original Words, adapted to popular melodies.

2. THE JUVENILE PIANOFORTE ALBUM, containing 24 Pieces and Dances by modern composers.

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NYIFT BOOK, NEW.-Songs and Tunes for Education,

edited by JONN CURWEN. The Ilarmonies by James TURLE, Esq., Organist of Westminster Abber. 'The Pianoforte edition, in handsome cloth binding, with gilt title, price hall-a. crown.

This work is the fruit of the editor's residence in Germany. He collected books of music for young people in every town he visited. With the aid of Mr. James S. Stally brass, the whole of this collection was analysed, and the choicest translated or adapted for English use. The editor, however, never preferred a German piece when an English one would do as well. He aims to educate the feelings and sympathies of childi:ood by the habit of singing good songs. This he considers the proper office of music in schools. He takes care that the three school ages (childhood, boy-and-girl. hood, and youth) are suited with songs on the following subjects :-Country Scenes, the Seasons. Fancy, and Humour. Kindness to Animals, Home Sympathies, Patriot. ism, Industry, Integrity, Religion, &c. There are two hundred and sixty-seven songs. This work will doubtless supersede the editor's widely known * School Music" and " School Songs."

An edition in the Tonic Sol-fa Notation, containing the Treble Voice "parts" only. price, in paper, One Shilling ; in cloth, One Shilling and Fourpence. The " Education Sougs,"containing the words ouly, price Sixpence.

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. . S. 2 have to announce the complete success of a New Patent Sell-Acting Blowing Machine, 10. Finale, Act I.

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the only self-acting blower that has ever succeeded, which may be seen in operation at 101* Ballad, " Bliss for ever past."' : : : : s.

2 6 Holles Street daily. ACT II.

The most distinguished living musicians, including Balfe, Sterndale Bennett, Cipri.

ani Potter, Best, Henry Sinart, &c., have testified to the extraordinary merits of 11. Recit, & Romance, “ How peal on peal of thunder rolls."

Evans's Harmoniums.
Trio,
"By the tempest overtaken." .

See testimonials attached to Illustrated Catalogues of Harmoniums, to be had gratis 13. “ My welcome also to this roof." - . T.

of the Manufacturers, 131. Cabaletta, “Can it be, do I dream?".

Boosey and CHING, 24 Holles Street, London. 14. Duettino,

“Let the loud timbrel" (Unison.) Recitative,

“ Nay, do not run away." .
Air,

"" Though we fond men all beauties woo.
Duet,
" Thou weepest, gentle girl." -

FVANS'S ENGLISH MODEL HARMONIUM, with 17. Drinking Song, “Let others sing the praise of wine."

U two rows of keys, price 66 guineas in oak case, or 70 guineas in roses ood case, Ballad, “The Paradise of Love."

combines every modern improvement. The most beautiful and varied orchestral effects 19. Finale, Act II. .

can be produced upon this instrumont, which possesses every gradation of tone from 19A. Trio, “What man worthy of the name.. . - S. B.

the greatest power to the most delicate piano pioces. The English Model Harmonium ACT III. 1

is managed with that facility which characterises all Evans's Harmoniums, and is

equally effective both in the drawing room and church Entr' Acte • o contie sleep." Ballad, . . .

Boosey and CHING, Manufacturers, 24 Holles Street, London, W.

. . . T.
Concerted Piece

w i
. .

. . 22. Ballad,

"A loving daughter's heart." Concerted Piece

DVANS'S PEDAL HARMONIUMS, with independent 24. Rondo, Finale, “With emotion pist all feeling.. :

Pedal Reeds, can be had either with a single or double row of keys, at prices N.B.—Those marked thus (*) have transposed Editions.

from €51 to 130 Guineas; also with the new patent self-acting blowing inachine.

Boosey and Ching, Manufacturers, 24 Holles Street, London, W.
Farourite Airs from Balfe's Opera, “ The Puritan's Daughter," arranged by
W. H. Callcott, in 2 Books

- Solos, 53., Duets 6 0 W. H. Holmes's Fantasia, " The Puritan's Daughter"

::18 MHE CECILIAN PITCH PIPE (a new invention), for Brinley Richards's " Bliss for ever past." . Brinley Richards's Fantasia on the Favourite Airs

. . 40

the waistcoat pocket, is superior to all others, being much more powerful in
Galop, from "The Puritan's Daughter," arranged by C. Coote . . . . 3 0 tone than any other at present in use-the pitch does not vary, whether sounded Piano
The Storm Valse, from “The Puritan's Daughter," arranged by C. Coote • 4 0 or Forte-is easily repaired, or the pitch altered if required.
Quadrille, from “ The Puritan's Daughter," arranged by C. Coote .
Küne's Fantasia on "The Puritan's Daughter."

Boosky and CHING, 24 Holles Street, W.
Other Arrangements in the Press.
London : ADDISON, Hollier and LUCAS, 210 Regent Street.

MOLLARD AND COLLARD'S NEW WEST - END

ESTABLISHMENT, 16 Grosvenor Street, Bond Street, where all communi. SHDOWN and PARRY (guccessors to Wessel and Co.) | cations are to be addressed. Pianofortes of all classes for Sale and Hire. A 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 for teaching I FINCHAM, ORGAN-PIPE MAKER, VOICER, and TUNER, purposes, may be had, post-free, on application,

110 EUSTON ROAD, LONDON. London : 18 Hanover Square.

Amateurs and the Trade Supplied at the Lowest Terms

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forte-is easily repaired;ice (any note) 28.6d. Poststreet. w.

ASHDOWN & PARRY'S

NEW EDITION.
RECENT PUBLICATIONS.

THE VOICE AND SINGING

| (THE FORMATION AND CULTIVATION OF THE VOICE FOR SINGING), Pianoforte.

By ADOLFO FERRARI.
SYDNEY SMITH.-La Harpe Eolienne. Played by the
W Composer daily at his Pianoforte Recitals at the Crystal Palace with extra-
ordinary success. Price 4s.
Asudown & Parry, 18 Hanover Square.

HEN this book first appeared we foretold its success; COLLMICK.-Elfin Revels. The last new piece by this

our conviction being founded on the author's freedom from graceful writer, a most charming composition. Price 3s.

conventional trammels, the strong good sense of his opinions, the ASHDOWN & PARKY, 18 Hanover Square.

novelty and yet evident soundness of his precepts, and the conciseness PRINLEY RICHARDS.-Yankee Doodle. Price 4s.

and practical value of his examples and exercises, of which every note

is dictated by a clear and definite purpose. The influence of Signor Ashdown & PARRY, 18 Hanover Square.

Ferrari's method of forming and cultivating the voice, as it is explained H W. GOODBAN. — Rosalie, the Prairie Flower. in this treatise, is enhanced by the efficacy of his personal lessons in • Price 3s.

his practice as one of the most cminent teachers of the day; and this Ashdown & PARRY, 18 Hanover Square.

work has consequently come into general use as a manual of vocal inTULES BRISSAC.- Tamo, si t’amo. The Mazurka from

struction, not only in the metropolis but throughout the kingdom. Verdi's Un Ballo in Maschera. Price 3s.

In this new edition the author has made various important additions ASHDOWN & PARRY, 18 Hanover Square.

to the work, especially to the Exercises. Formerly they were confined

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was not made. This desideratum is now supplied, partly by means of RICARDO LINTER. – Tally Ho! Fantasia (à la chasse). entirely new exercises, partly by giving the old exercises likewise in Price 33.

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the contralto or barytone, by the insertion of alternative passages in T RUMMEL.—Espoir du Retour. Nocturne. Price 3s. small notes. By these means the utility of the work is very greatly inAshdown & Parry, 18 Hanover Square.

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We have said that the remarkable qualities of this book are the au- RUMMEL-Solitude. Nocturne. Price 3s.

thor's freedom from conventional trainmels, the strong sense of his A3HDOWN & PARRY, 18 Hanover Square.

opinions, and the novelty yet evident soundness of his precepts ; and LUDOUARD DE PARIS.-Mezzanotte. Fantasia on the

this we will show by quoting, unconnectedly, a few passages which

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“Voices are too often ruined by giving pupils difficult songs, in ASHDOWN & PARRY, 18 Hanover Square.

order to gratify their vanity or that of their friends, before they have ATENRI ROUBIER.—Esilda. Fantaisie-Polka de Salon. acquired the power of sustaining the voice, throughout its natural ex

tent, with a firm and clear intonation. When it is recollected that it Ashdown & Parry, 18 Hanover Square.

has taken years of application and study to enable professional singers HENRI ROUBIER. - Fleur printannière. Fantaisie

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almost every young lady who is requested to sing in a drawing-room, ASUDOWN & Parry, 18 Hanover Square.

the absurdity of the prevailing system becomes self-eviứent.

“I strenuously advise all who wish to sing not to defer the comHENRI ROUBIER. - Vaillance. Morceau Militaire. mencement of this study, as is generally the case, till the pupil arrives Asudown & Parry, 18 Hanover Square.

at the age of 17 or 18, by which time young ladies ought to be good

singers, but to commence early, at about 13 or 14 years of age, and re. GEORGE FORBES.-Edith. Romance. Price 2s. 6d. sisting the gratification of singing a number of songs for the amuse· Ashdown & PARRY, 18 Hanover Square.

ment of their friends (the word may be taken in more senses than one),

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to themselves and agreeably to the air.

“Many young ladies now-a-days speak habitually in a feigned voice. Organ.

Here lies the greatest difficulty in teaching, or practising singing; for I EFEBURE-WELY. Three Andantes. Edited by

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In my experience I have found this difficulty most easily overcome by

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their lowest notes ; but, as the lower and richer tones of the voice are

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too strongly the greatest attention to the free and natural development I EFEBURE-WELY. — Fugue in D minor. Edited by

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“In conclusion, I must add a few words on a subject of great imI EFEBURE-WELY. - Funeral March.

portance to the pupil who makes singing a study. I mean the spirit in Edited by

which instruction is received. Every emotion of the mind affects the by William Rea. Price 3s. ASHDOWN & PARRY, 18 Hanover Square,

voice immediately; therefore it is of the utmost importance that the

pupil should receive the lesson with the mind entirely unpreoccupied by LONDON:

other matters, and in a perfect spirit of willing submission to the teacher's corrections, however frequent, and however unimportant they may appear ; for it is simply by the constant correction of little nothings

that beauty of intonation and clegance of singing are obtained.”---Daily (Successors to Wessel and Co.),

News.

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