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ST. JAMES'S HALL.

MONDAY POPULAR CONCERTS.

EIGHTY-FIFTH CONCERT, ON MONDAY Evening, May 19th, 18G».

PROGRAMME.

Pa»t I Quartet, in F, Op. 59, No. I, for Two Violins, Viola, and Violoncello,

MM. Joachim, L. Kier, Schreurs, and Piatti (Beethoven). Canzonet. " Sympathy" Mad. Louisa Vinnino ( Haydn). Song, " Now Bleeps the crimson petal," Mr. Santlet (Frank Mori). Sonata, in the Itulian style, (or Pianoforte solo, Herr, Pauer (J. S. Bach).

Part II. —Andante Fugue, in C major, for Violin solo, Herr Joachim (J. S. Bach). Song. " The Violet Girl," Mad. Louisa Vimnino (G. A. Mncfarren). Song, " T'amo," Mr. Santley (J. Benedict). Trio, In B Sat, Op. 99, for Pianoforte, Violin and Violoncello, Herr Pauer, Herr Joachim, and Signor Piatti (Schubert).

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.

•»* Between the last vocal piece and the Trio for Pianoforte, Violin, and Violoncello, 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 fn musical type, of the Sonata for Pianoforte alone, at the end of Fart I.

Stalls, 5s.; Balcony, 3s.; Admission, Is.
A few Sofa Stalls, near the Piano, 10s. 6d.

Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly; Chat-feu. & Co., 90 .New Bond Street, and the principal Muslcsellers.

TO CORRESPONDENTS.

Publiustulus '.—" Adieu, plaisant pays de Franco!

O, ma patrie!

La plus cherie
Qui as nourri ma jeunc enfance!
Adieu, France! adieu nos beaux jours!'

NOTICES. 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 Frtdaysbut not later. Payment on delivery.

_ J Two lines and under 2s. 6d.

(E trms -j Em.y additional \Q words Orf.

To Publishers And Composers.All Music for Rcvieto in The Musical World must henceforward be forwarded to the Editor, care of Messrs. Duncan Davison & Co., 244 Jtegent Street. A List of every Piece sent for Meview wiU appear on the Saturday following in TnE Musicax World.

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

Cjxe lltetnil ffi&axlb.

LONDON: SATURDAY, MAY 10, 18 62.

THE Handel Commemorations—as we anticipated in noticing the very remarkable performances at the Crystal Palace—have ultimately and justifiably resolved themselves into ~the "Handel Triennial Festival." The "Commemorations" of 1784 and 1834 at Westminster Abbey, revived, and, it must be admitted, far surpassed in grandeur by those of 1857 and 1859 at Sydenham, naturally led to this result. There is no reason whatever why London should not hold a musical festival once in three years just as well as Birmingham nnd the rest; and although the performances must necessarily take place at Sydenham—which possesses the only building vast enough for such a purpose within reasonable distance of the capital—the Handel Triennial Festival will constitute a great London music-meeting to all intents

and purposes, inasmuch as people from the country and from abroad are likely, as a matter of expediency, in the majority of instances, to make London their home during the festival; while the flower of the performers, vocal and instrumental, to say nothing of the bulk and intelligence of the active management, can only be supplied from the same exhaustless source. The proportions of the London festival, compared with those of the Birmingham, will fairly represent the difference in magnitude, wealth, and population between the capital of England and the commercial emporium of the "Black Country."

The Handel Triennial Festival is the legitimate offspring of progress—of progress especially noticeable within the last quarter of a century, in the course of which, thanks to the initiatory example and universal influence of the Sacred Harmonic Society, choral singing has attained a proficiency which was formerly not even contemplated. Although the strong fresh voices of Yorkshire, Lancashire, and Norfolk are now occasionally cited in disparagement of the comparatively jaded organs of our harder-worked fellow-citizens, those who remember the country music-meetings of not more than twenty years ago must unanimously admit that performances then not merely tolerated, but admired, would scarcely be found tolerable in the present day; and, supposing them equally conversant with what has been since going on in London, they will hardly refuse to acknowledge that the impetus of progress has proceeded directly from the capital, and that the gradual advance of the Sacred. Harmonic Society in excellence and public fame first led to the foundation of similar institutions, of more or less utility and significance, in almost every considerable town of the United Kingdom. As the Handel Triennial Festival, however, will draw its executive materials from all parts of Great Britain, every choral society appointing chosen delegates to represent it, there can be no feeling of jealousy between town and country (either in amateur or professional circles) about this particular question, which, after all, is simply one of historical interest. That London furnishes the best solo singers and the best orchestral players to all the country festivals is notorious; and it is but fair that they should send their most efficient choristers, men and women, to our one projected festival in return. Where, indeed, competition is altogether impracticable, jealousy would be absurd. It may, therefore, be concluded that the first Handel Triennial Festival will meet with as hearty co-operation from all sides as was extended to the " Commemorations " of 1857 and 1859—the imposing "trial"and the triumphant "centenary;" and that, in the venerated name of the greatest of sacred composers, the Biblical musician par excellence, a pact of musical fellowship, at once sincere and enduring, will henceforth be signed and sealed between London and its country rivals. The united efforts of musical England in the promotion of so excellent a cause come all the more gracefully in the year of the Great International Exhibition.

The dates of the three performances are fixed for Monday, the 23rd, Wednesday, the 25th, and Friday, the 27th of June. On the first day The Messiah, and on the last Israel in Egypt will be given. The Wednesday is to be devoted to a selection, comprising some pieces from the Dettingen "Te Deum" (the great effect produced by which in 1859 may still be remembered); others from Saul, Judas, and Sampson; the double-choruses, "Immortal Lord" {Deborah), "From the Censer" (Solomon), and the series descriptive of " the passions " (ibid.); together with, probably—and every lover of Handel's music must hope this will be the case—" Wretched Lovers," from Acis, and a chorus from Alexander's Feast. On the whole, no better or more attractive programme could easily be devised. The Messiah is indispensable to every English festival; while the omission of the colossal Israel, after the unparalleled sensation it created both in 1857 and in 1859, would lead to a general outcry. In addition to this, these two oratorios are incontestably the grandest and most perfect of Handel's sacred compositions. That the performances will, in a marked degree, excel even those at the "Centenary" (1859) may be looked upon as positive. For three years not only has the "London contingent" of 1,600 singers held repeated practices in Exeter-hall under the superintendence of Mr. Costa (who is again to be director), but the country societies have been no less industrious. Moreover, festivals have been celebrated in the interval at Bradford, Norwich, Birmingham, Gloucester, Worcester, and Hereford; while all over England, independently of London, unaccustomed signs of musical activity have been manifest. A general tendency, indeed, to advance by gradual steps up to that point of efficiency which might warrant a claim to take part in the first Handel Triennial Festival—as the culminating event in the musical annals of Great Britain—would seem to have exhibited itself far and wide. On the other hand, the committee, with Mr. Bowley as their organising chief, the officers of the Sacred Harmonic Society, deprived of whose immediate countenance and support such an undertaking would be little short of Utopian, and those who are most active in promoting the interests of the Crystal Palace itself, are not likely to have allowed three years to elapse without carefully weighing all the means and appliances requisite to profit by the experience of 1859—just as, in the shorter interval between the first and second Commemorations, they ably and honestly profited by the experience of 1857. That such is the case may be gathered from the appearance of a "programme of arrangements," in the shape of a little pamphlet, entitled The Great Triennial Festival at the Crystal Palace in 1862, bearing the familiar signature of "Robert K. Bowley, General Manager to the Crystal Palace Company." In this we are reminded in sufficiently plain language, dashed by a modicum of not inexcusable enthusiasm, of the wonderfully successful issue of the " Handel Commemoration" in 1857, and, with equal justice, of the marked progress evinced in the subsequent attempt—the real " Centenary"—for which the first experiment was virtually a preliminary rehearsal on a grand scale. Mr. Bowley points with satisfaction to a passage in the correspondence of Mrs. Delany (Mary Grenville), who in 1756, three years before Handel's death, having attended a performance of the grandest of all choral works, wrote—" Israel in Egypt did not take; it is too solemn for common ears." But at the "Commemoration" in 1859, says, triumphantly, Mr. Bowley, "the sum of 16,000/. was received for tickets" to hear "that stupendous masterpiece of the musical art." True there was no Sacred Harmonic Society in the year 1756; and no Mr. Bowley, much less a Crystal Palace, to render practicable such enormous undertakings as.have been lately set on foot; or, perhaps, even Mrs. Delany might have hesitated before making common cause with "common ears." The following, with reference to the Handel-orchestra in the central transept of the Crystal Palace, may be read with interest:—

"For the festival of 1857 the larger portion of the present orchestra was built. In 1859 it was enlarged to such dimensions ns experience had dictated to be advisable for the largest practicable choral festival. It was also inclosed at the sides and back with screens of the most resonant material, the good effect of which at the performances of 1859 was admitted on all hands. Disinclination, however, at that time to undertake so large a work as entirely roofing the orchestra with similar

material to that of the sides and back led to the employment of a vast oiled and hardened awning of canvas, after the manner of the Velaria, by which the Colosseum and other similar bnildings of ancient Rome were covered during great public displays. This, although effective to a considerable extent, did not, it is candidly admitted, effect all that had been anticipated. Neither in form nor structure could all be attained that was intended. And thus the force and clearness of the choruses, improved as they were, did not reach the point anticipated from the additions made to the numbers of the orchestra, while it was no less evident that still more required to be done to aid the solo singers. It has, therefore, been determined that the entire orchestra, and the space beyond it as far as the intersection of the great transept with the naves, shall be solidly roofed in. The orchestra at the Crystal Palace, 216 feet wide, is double the diameter of the dome of St. Paul's, or nearly equal to that of the great dome of the 1862 Exhibition building and Exeter Hall combined ; while it is nearly as deep from front to back as Exeter Hall is long. The sides are about sixty feet high, or nearly the same as the Birmingham Town Hall. Wooden cross-tie girders being carried across, in the form of an arch, rising about forty feet in a clear span of 216 feet, the underside will be filled in with tic-bracings lined with well-seasoned match-boarding, bound closely together by ingenious appliances until the whole surface becomes as bard and as resonant as a drum-head."

The admissions contained in the foregoing are candid, and their candour justifies a belief in the efficacy of the proposed modifications and additions. We must, however, desist for the present. Enough has been adduced to show that there is every chance of the first Handel Triennial Festival surpassing in imposing grandeur any previous musical " solemnisation," and the fact of its coming off during the meridian of the "Great International Exhibition" warrants a conviction that if the "Commemoration" of 1859 was attended by "81,319 persons," the Festival of 1862 may be patronised by at least as many more. There is plenty of room in the Crystal Palace; and the "stewards " for "1857" and "1859" have sufficiently convinced the public that the comfortable accommodation of a vast multitude is, with tolerably skilful management, by no means an impossible achievement.

D.

—i—

THE Cantata written by Sig. Verdi for the opening of the International Exhibition is not doomed to unmerited neglect. Because the Royal Commissioners, in their wisdom or their spleen, have thought proper to reject a work of one of the most popular of living dramatic composers—a work expressly ordered by themselves, and refused without a shadow of reason—it does not therefore follow that the public would not desire to hear it elsewhere, or that it could not be performed in any other locality than the wretched apology for a Crystal Palace in Kensington. Art, indeed, could hardly be said to be in the ascendant in this country, if a new composition by the author of Rigoletto, the Trovatore, and many masterpieces, written to celebrate the greatest event of our own immediate time, should, when heedlessly cast aside, be suffered to pass away without inquiry, and no effort be made to drag it from obscurity into light. Fortunately, the whole feeling of the country in this instance is with the Italian Maestro, and against the Commissioners. •The cry has gone forth from one end df the kingdom to the other that a grievous wrong has been done, and that restitution is imperatively demanded. What can make amends to Sig. Verdi for the extinguishment of his hopes? That he put his whole soul and mind to his task, having to compete with the three greatest masters of Germany, France, and England, we may readily imagine. As the representative of Italy he would not willingly be rearmost in the artistic struggle, but would bend his most strenuous efforts to gain a place, if he could not be first, in the contest. No doubt Sig. Verdi was deeply offended at the conduct of the Commissioners. No doubt his vanity was probed to the quick by their refusal. It may be that he considered himself lowered, if not degraded, in the eyes of Europe. Outwardly, however, the popular composer appears to have borne the indignity thrust upon him with philosophical composure. Nothing could be freer from acrimony or illfeeling than the letter addressed to a morning contemporary explanatory of the reasons why he wrote a Cantata instead of a March, and showing how there was time more than sufficient for its rehearsal—that being one reason advanced by the Commissioners for its rejection. The tone of Sig. Verdi's letter was eminently calm and dignified. He uttered no complaint; he made not a murmur. He stated a fact, which he was called upon to do, and left his case, without suggestion or comment, to be adjudicated by the world. But that letter, in its quietude and self-possession, gained him more friends than if he had issued the most eloquent protest, or if he had rung the changes on his position, his treatment, and his expectations. All Art-England has made joint cause with Sig. Verdi, and his popularity will moult no feather from the ruffling it has received at the hands of the Royal Commissioners.

Sig. Verdi's Cantata, we are informed, is about to be produced at Her Majesty's Theatre, with full band and chorus, under the superintendence of the composer. The solo parts, originally intended for Sig. Tamberlik, have been altered for Mile. Titiens by Sig. Verdi. The public will, therefore, be afforded an opportunity of forming an opinion of a work the rejection of which from the programme of the Inauguration of the International Exhibition has created so much sympathy. It will then be seen how much the great preliminary musical festival has lost. Not that the real merits of the Cantata have anything whatever to do with its rejection; nor that, should it fall short of expectation, the Commissioners will be exonerated from censure. The utmost curiosity and interest are excited about Sig. Verdi's proscribed work, and no doubt a large crowd will be present at the first performance. This, we may presume, will constitute some slight recompence to the popular composer for the treatment he has received.

—♦— R'

To the Editor of the Musical World.

SIR,—Although I applaud your reticence at this festive time with regard to the Bennett-Costa misunderstanding, I still think you ought not to allow false statements to pass current which you have it in your power to set right I remember reading in your pages, as far back as 1853, a very luminous and, I must add, a very impartial, history of the whole dispute, from its first beginning in 1849. Why do you not republish that? It would enlighten many who are desirous of passing a fair judgment and estimating tho dispute at its value, and is, I must add, absolutely indispensable now that such a version as the one I subjoin has appeared in a paper of such wide circulation, extensive influence, and high respectability as The Observer.

"The following is the history of the objection raised by Mr. Costa to

conduct Dr. Bennett's music:—

"In 1846 Mr. Costa was appointed conductor of the Philharmonic Society. Immediately preceding this the operations of the society had not been attended with very great success. Tho first season of Mr. Costa's association-with it was one of the most prosperous. Ho was reinvited to continue the conductor of the Society, which invitation he complied with up to 1854, when he discontinued his association with it. Prior, however, to his acceptance of office, he made it a stipulation with the directors that, if any music with which he was not familiar was introduced at die concerts of the society, ho Bhould receive the score

thereof at least a fortnight before the rehearsal took place. He was induced to take this course from the delays which had occurred in forwarding to him the music performed in the former season; and as tho concerts of the society took place during the opera season, he found it matter of difficulty to get opportunity for the perusal of works which were new to him. In the course of the 6cnson 1848, an overture of Mr. Bennett's was placed in the programme. Some days beyond tho stipulated time having elapsed without receiving the score, Mr. Costa sent to one of the directors for it. In reply thereto, he was informed that Mr. Bennett had been applied to for the score, and had answered that he had not one in his possession, bnt would get one from some of his pupils, and send it. Days passed on, no music arrived; and on Saturday (the morning of the rehearsal), as Mr. Costa was about to proceed to the Hanover Square Rooms, a parcel was put in his hands, which he was told contained the music of Mr. Bennett's overture. Not a littlo vexed at this disregard of the understanding he had with the directors, Mr. Costa took the score with him, and as he rode to the concert room looked it over sufficiently to enable him to see there was nothing very difficult in the character of the work. The overture was rehearsed by the band with unusual care — it was played over three times. At the conclusion of tho rehearsal many of the members of the orchestra complimented Mr. Costa upon the manner in which Mr. Bennett's overture had been played. Mr. Bennett was absent from the rehenrsal, and Mr. Costa heard nothing from him until five minutes before the commencement of the performance on the Monday evening, when Mr. Lucas placed in his hand a slip of paper, on which was written :—

"' My dear Lucas,A pupil of mine at die rehearsal last Saturday has told me my overture was very badly performed; the movements taken wrong; Me pianos and fortes neglected. As you have conducted the overture many times before, be good enough to tell Costa how to do it.'

"Not a little annoyed at such an uncourteous mode of communication, Mr. Costa thereupon acquainted Mr. Lucas (then a director of the Philharmonic Society) that, after such an intimation from Mr Bennett, he must decline conducting his work at the performance ; and when the period arrived in the programme for Mr. Bennett's overture, Mr. Costa called Mr. Lucas down from his 6tand to conduct it, and left the orchestra. Mr. Costa then informed the Directors of the Philharmonic Society that, after the unjustifiable insult ho considered he had received from Mr. Bennett, he must positively refuse to conduct any more of his music. It is well known that this resolve has been adhered to."

Now no one better than yourself is aware that the above statement is in almost every particular inexact, and that the letter to Mr. Lucas is a pure invention. Moreover, the last sentence, "It is well known that this resolve (Sig. Costa's resolve not to conduct any more of Mr. Bennett's music) has been adliered to'" — involves an untruth. I have a programme before me to prove it — a programme of the Philharmonic Concert of April 22, 1850: —

TART L

Sinfonia in D (MS.) C. Potter.

Aria, "L'Addio," Mr. Whitworth . . Mozart.

Concerto, violin, M. Sainton . . . Beethoven.

Scena (Der Freischiitz), Miss C. Hayes . Weber.

Overture (MS.), Buy Bias . . . Mendelssohn.

PAST IL

Sinfonia in B fiat (No. 9) Haydn.

Aria, "Ponmidir," Miss Catherine Hayes Mozart.

CAraiCE, pianoforte. Miss Kate Loder . W. Stebndale'benkett.

Aria (IFuori citi), Mr. Whitworth . Paer.

Adagio and Fugue (in D) Mozart.

Conductor, Ma. Costa.

The dispute was in 1849, and this concert (at which I was present, and the whole of which was conducted by Sig. Costa) took place in the year following. You, sir, however, can, if you please, set us all right in the matter, which in fairness to Sig. Costa, Professor Bennett, and the public, you ought to do.

An English Musician.

London, May 8, 1862.

Professor Sterndale Bennett has presented to M. Sainton the MS. score of the Cantata written for tho opening of, the International Exhibition, handsomely bound, as a souvenir.

Musical Society or London.—At the next concert, instead of the overture to Struensee, which was to begin the performance, it has been decided (in accordance with M. Meyerbeer's own wish) to substitute the Grand Overture composed expressly for the International Exhibition.

The Conservative Land Society The Executive Committee

presented Mr. Gruneisen, the Secretary, on the 6th inst., with a handsome testimonial, accompanied by a letter signed by Viscount Ranelagh, the chairman, in the name of the board, stating that the presentation had been subscribed for amongst themselves, as a token of their esteem for the Secretary's indefatigable exertions

M. Fetis is in London. He will report upon the musical department in the International Exhibition for the Belgian Government,

M. Henri Herz has arrived in London. Among the foreign manufacturers who exhibit pianofortes at the International Exhibition M. Herz (who, it should be added, has abandoned neither composition nor playing) is one of the most eminent.

Miss Alice Mangold.—Those of our readers who heard this young pianist last year, and recognised her unusual talent, will learn with much regret that domestic afflictions, followed by a serious illness, will prevent her from accepting any engagements to play in public during this season.

Hebr Davidoff.—This celebrated Russian violoncellist will arrive in London in time to perform at the next (the fifth) Philharmonic Concert.

Mr. Charles D'albert, the popular and well-known composer of dance-music, has quite recovered from his late severe illness.

M. Depbet. — The report of the death of this gentlemen is without foundation. "Depret is not dead, but alive at Florence, and (writes a correspondent) counts amongst the most distinguished amateurs of that city."

Sio. Ronconi is still very ill, at Granada. It is stated that he has undergone a successful operation for the stone. Whether this be trueor not, his reappearance among us will be hailed with universal satisfaction.

Mr. Aguilar's first "Reception" this season will take place at his residence on Saturday evening the 17th inst.

Nice.—Herr Ernst, who has been staying here for a considerable period, in the hopes of recovering his health, is in an exceedingly precarious condition. The intelligence of Halevy's death has had a most prejudicial effect upon the health of the celebrated violinist.

Mr. Elliot Galer is about to open the New Royalty Theatre as an Operetta House. He will have the assistance of Mr. and Mrs. Henri Drayton and Miss Fanny Reeves. This little theatre is especially suited to the production of light operatic works, and as Mr. Galer has had considerable experience in that line, there can be little doubt of his success.

All Saints' Church, St. JonN's Wood.—Mr. Walter H. Sangstcr, late organist of St. Michael's, Chester Square, gained the appointment, by competition, of organist to the above church on Tuesday last. A , large organ by Bevington is being built for the church.

Schubert's opera of Die Verschworenen, oder der Hauslicke Kreig, has been published, in a complete pianoforte edition, with words, by A. Spina, of Vienna.

Gallery Of Illustration.—After a successful tour in the provinces, Mr. Mark Lemon has returned to give those agreeable archaeological lectures "About London" which he delivered for the first time last winter. Taking place on three afternoons in the week, and on Saturday evening, these lectures do not interfere with Mr. and Mrs. T. G. Reed's entertainment.

Music At Home.—What shall the amusements of the home be? When there is the ability and taste, I regard music, combining in happiest proportions instruction and pleasure, as standing at the head of the home-evening enjoyments. What a never-failing resource have those homes which God has blessed with this gift! How many pleasant family circles gather nightly about the piano! How many a home is vocal with the voice of song! The piano is a great and universal boon and comforter. One pauses and blesses it, as he hears it through thj open farmhouse window, or detects its sweetness stealing out amid the noise of the town—an angel's benison upon a wilderness of discord, soothing the weary brain, lifting the troubled spirit, pouring fresh strength into the tired body, waking to worship, lulling to rest. Touched

by the hand we love—a mother's, sister's, wife's—say, is it not a ministrant

of love to child, to man—a household deity, now meeting our moods, answering to our needs, sinking to depths we cannot fathom, rising to heights we cannot reach—leading, guiding, great and grand and good, and now stooping to our lower wants, our souls reverberating from its keys? The home that has a piano, what capacity for evening pleasure and profit has it! Alas, that so many wives and mothers should speak of their ability to play as a mere accomplishment of the past, and that children should grow up looking on the piano as a thing unwisely kept for company and show l..-. Rev. J. F. W. Ware.

|lrobinn;il.

The two concluding concerts of the Bath Classical Concert Society, we are informed by the Bath Chronicle of Thursday last, were among the most complete and brilliant ever given by the Society. At the evening concert on Tuesday, Handel's oratorio, Samson, was performed, with Miss Banks, Miss Palmer, Mr. Sims Reeves, and Mr. Weiss as principal solo singers. Miss Banks seems to have pleased greatly, and Mr. Sims Reeves is lauded to the skies. Mr. Weiss, too, is mentioned in no measured terms of praise. The chorus was somewhat weak in treble voices. At the morning concert on Wednesday, Mr. Sims Reeves made a special hit in Mr. George Lake's new ballad, " Summer is sweet," obtaining an enthusiastic encore; and Miss Palmer received the same compliment in Mr. Hatton's ballad, "The sailor's wife." Madame Louisa Vinning sang in place of Miss Banks. We extract a paragraph or two from the Chronicle. The subjoined refers to Messrs. Sims Reeves and Weiss :—

"The splendid voice of Mr. Sims Reeves never appeared fresher. He sang in his best style, and higher praise could not be awarded him. His delivery of the recitative, 'O loss of sight,' and the famous succeeding air, 'Total eclipse,' was distinguished by that wonderful pathos which never fails to entrance the hearer. When the composer was himself blind, it is said he shed tears on this air being sung in his presence; but it is impossible that he could have listened to a more exquisite delineation of the piece than that given by our first English tenor. Another air to which Mr. Reeves imparted the consummate expression of which he is so great a master, was, ' Why does the God of Israel sleep?' Again, in 'Thus when the sun in's watery bed,' he displayed the marvellous beauty of his voice to such perfection that the audience applauded him with acclamations. The piece dt resistance of the evening was the duet between Mr. Reeves and Mr. Weiss, 'Go, baffled coward, go.' Mr. Reeves utters this defiance with a withering contempt and expressive taunt unequalled by any living singer. Its performance was greeted by overwhelming applause, and encoded in a manner that was not to be resisted. The deep sonorous tones of Mr. Weiss were heard to eminent advantage in the music of the Philistine. He was particularly happy in the air, 'Honour and arms,' and the indignation with which he delivered the line, 'I'd left thy carcass where the ass lay dead,' was magnificent. He is certainly the most accomplished English basso of the day."

Of Mr. Edward Roeckel, at the morning concert, our contemporary writes as follows: —

"Our fellow-citizen, Mr. Edward Roeckel, appeared for the first timo at these concerts, and gavo two pianoforte solos in a style so finished and masterly, that his performances will be looked for with pleasure at future concerts. His selections were Beethoven's Sonata Appassionata (Op. 57), and a lively piece of lus own writing. He possesses a sensibility of touch and a facility of manipulation uncommon in provincial professors, and is without any of those pretentious airs which men of greater, as well as of lesser, capability too frequently assume. There cannot be a doubt that he is a musician of superior taste and skill."

Of Messrs. Sims Reeves and Weiss again :—

"Three songs were allotted to Mr. Reeves, viz. Kiickcn's 'Twilight is dark'ning,' Mendelssohn's 'Hunter's Song,' and Lake's 'Summer is 6\vcet.' They were all finely interpreted, and in 'Summer is sweet,' the accomplished tenor, being enthusiastically encored, graciously repeated the song. It is admirably adapted to Mr. Reeves's voice. The author is, we presume, Mr. Geo. Lake, musical critic of the now defunct Morning Chronicle, the defunct Musical Gazette, and the still hale and hearty Sunday Times, besides being composer of Daniel, an oratorio of great merit, first performed in Cork in 1853. Schubert's 'Wanderer,' and Arne's 'Flow thou regal, purple stream,' are equally fitted for Mr. Weiss's splendid bass, and in both he was heartily applauded."

M. Bianchi's pianoforte 'accompaniments at the concert are highly praised. One more extract and we have done : —

"We regret to state that the season has been in a monetary point of view a failure. The Classical Concert Society have sustained a loss on tho four concerts of 150i The causes that led to this unwelcome result are various Elijah, for the production of which an outlay of more than 200/. had to be incurred, brought the first loss, the attendance being unremunerativo through the death of the Prince Consort. Another serious deficiency was created by the refusal of Sig. Giuglini to fulfil his engagement, and the consequent postponement of the second concert. The performance of Samson has added to the debt. This state of things must be discouraging to the gentlemen who have devoted time and money to the provision of music for the inhabitants of Bath, without any idea of gain, but for the, sole purpose of enhancing the attractions of the city, and ministering to the gratification of the public. We hope the loss will be made up. It cannot be expected that the concerts will be maintained if those who undertake the labours connected with their preparation are saddled with pecuniary liabilities. The society was established in 1855, with the view of providing musical gatherings equal to those of the metropolis. Each year two oratorios have been produced, and for them, as for the miscellaneous concerts, the services of vocalists and instrumentalists of celebrity have been retained. The annual expenditure, during six years, has averaged 700/. It is of importance to the city that a source of amusement so refined should not be permitted to languish. The committee have worked indefatigably, and deserve the thanks of the people of Bath and the surrounding neighbourhood."

All this is much to be regretted.

A correspondent from Bristol writes enthusiastically about Miss Jane Jackson, the pianist, who gave her annual benefit on the 28th ult. in the Music Hall. The lady played Hummel's Grand Concerto in A flat and Mr. Benedict's fantasia "Erin." Her success was remarkable, according to the writer, and entirely satisfied her warmest admirers, of whom she would seem to have a host in these parts. The Concert, in other respects, was of unusual interest, commencing with a selection from Der FreUchiitz, the principal parts being sung by Mr. Sims Reeves, Mad. Louisa Vanning, Miss Ada Jackson, and Mr. Weiss. The chorus was composed of the Clifton Vocal Association, who seem to have given their share of the music, with excellent effect. Our correspondent is even more enthusiastic about Mr. Sims Reeves than about the benifidaire. His singing of the grand scena " Oh! I can bear my fate no longer," he tells us, was as magnificent a specimen of grand dramatic singing as ever was heard, Mr. Weiss sang the music of Caspar with great vigour and power; Mad. Vinning was very effective in the scene "Before my eyes beheld him;" and Miss Ada Jackson, sister of the concert-giver, was highly useful in the concerted music, besides singing the air "Tho' clouds by tempests may be driven " with nice sentiment and feeling. Mr. Sims Reeves's success did not stop with the music of Weber. He sang Kucken's song "Twilight is dark'ning," and was encored in a hurricane of applause. Our Correspondent adds that Mr. Swift has been singing with marked success at the theatre, where English Operas are being now produced, in the Bohemian Girl, the Trovatore, Fra Diavolo and Guy Mannerivg.

From a correspondent at Canterbury we learn that— Mr. Longhurst's Grand Annual Concert took place on Monday Evening, April 28th, and was attended by a numerous and fashionable audience. Among the most attractive features of the Concert were Miss Eleanor Armstrong's singing of "Bel ruggio," from Semiramide, in which she was encored, and the latter movement of which she repeated; also a very pretty song, composed expressly for her, which she sang with great taste. The old English Ballad, "Jockey to the fair," sung by Miss Eyles, was another genuine success. "The soldier's dream," sung by Mr. Cummings, and the duet "Parigi O Cara," from La Traviata, by the same gentleman, with Miss Armstrong, were much applauded. Mr. Bodes, a local barytone, acquitted himself favourably. A Concerto of Beethoven's was well played by an amateur, accompanied by the orchestra. Mr. Weist Hill, the violinist, played one of his own solos with brilliant effect. The Concert terminated with a selection from the Prophete arranged for the orchestra by Mr. Longhurst

The Brighton Herald devotes half a column to Mr. H. C. Cooper's Soiree, from which we take the following:—

"Mr. H. C. Cooper, who has taken up his abode amongst us, gave his first Soiree Musicale at the Old Ship Assembly Booms .on Monday evening, assisted by Mad. do Tonnelier as vocalist, and by M. Edouard de Paris, Mr. Gutteridge, Mr. Eugene Boilcati, and Mr. R. H. Nibbs as instrumentalists. The programme comprised Beethoven's Quartet in A (op. 18), concerto for the violin by Mendelssohn, with pianoforte accompaniment by M. E. de Paris, and Spohr's Quartet (op. 43). In each of these Mr. Cooper's fine sterling style of playing was displayed to great advantage. In breadth and vigour he has scarcely a rival; his intonation is faultless, and we have never listened to finer staccato bowing. Mr. Cooper has improved since we last heard him in Brighton, and he had then been pronounced to be the first English violinist of the day, and in that capacity worthily upholds tho musical reputation of his country at the Philharmonic Concerts. Spohr's quatuor is chiefly intended for the first violin, and here again Mr. Cooper showed his mastery of the instrument M. Edouard de Paris, besides the pianoforte accompaniment (arranged by Mr. Cooper) to the Concerto, gave Beethoven's Moonlight Sonata. Mad. de Tonnelier has a fine voice, particularly the upper notes, and has been well instructed. She sang 'Robert, toi que j'aime,' and 'Come per me sereno,' in a very pleasing style and with great distinctness of execution. Mr. Cooper, now that he is settled among us, will doubtless give other opportunities to the lovers and patrons of art to show that they can appreciate music of a high class and thus admirably executed."

A Correspondent writing from Colchester sends us the following account of Mr. Coe's Concert and Readings at the Public Hall:— "On Wednesday evening Mr. Coo (stage director at the Theatre Royal, Haymarket) gave 'Readings from Shakespeare, Sheridan, Tennyson, Thackeray, Bulwer, Sheridan Knowles,' &c. The 'Readings' were interspersed with music of an appropriate character. Mile. Georgi sang ' Una voce poco fa,' 'Le muleteer de Calabre,' ''Tis the harp in the air' (Afaritana), in all of which she was greatly applauded. Mile. Georgi, a pupil of Mr. Benedict's, well known in London for her fine contralto voice, promises to take a high position in her profession. Mr. John Hill and Mr. D. Spillane varied the entertainment agreeably by a brilliant duet for pianoforte and violin."

A REVIVED POET. (See Mr. Punch for ever so long ago.) I Am the Poet of the Philharmonic, Who some years back composed in Punch a Tonic, which I hoped would bring peace between Bennett and Costa. But regret animosity has been permitted to foster. Surely it is time Costa should alter his Demeanour, And forget all that mistake and Nonsense about Parisina. Stebndale is not stern, and they state has made a Sign That he will forget and forgive if Costa behaves Benign. Now Michael should trample on the Devil of Wrath and Spleen, Apologise like a gentleman, and let all be serene, And as has been suggested by an able Contemporary, Make some Amends as humanum est Semper errare, Request the gracious Mb. Gye to ask Dr. Bennett To produce his Ode at Covent Garden, the Musical Senate, Ms. Costa conducting it firm and brilliant as Marble, which might indeed be Deemed making Amende honorable: Then the Public will rejoice at the reunion of the gifted Secessioners, And with one heart turn round and cordially kick the International Commissioners.

TWENTY-SIX LETTERS OF JOSEPH HAYDN.

(Continued from page 103.)
(No. 3.)—Mad. Genzinqeb To Haydn.

Oct. 29, 1789.

• • * *

I hope you have duly received my letter of Sept 15, together with the first movement of the symphony (of which I sent you the andante some months since); and herewith follows also the last movement of the same, which I have arranged for the pianoforte to the best of my ability —wishing only that it may please you and most humbly praying you, in case I have made any mistakes, to make at your leisure all needful corrections, which, most estimable Herr von Haydn, I shall at all times receive with heartiest thanks. I pray you have the goodness to inform me whether you received my letter of Sept 15th, with the piece which accompanied it, and whether it was to your taste, which would be a great

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