'the Worth or Art Appears Host Eminent In Music, Since It Requires No Material, No Subject-matter, Whose Effect Must Be Deducted: It Ib Wholly Form And Power, And It Raises And Ennobles Whatever It Expresses"GUtile.

SUBSCRIPTION—Stamped for Postage—20s. PER ANNUM Payable in advance by cash or Post-Office Order to B00SEY & SONS, 28 Holies Street, Cavendish Square, London, W.

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The Orchestra and Chorus will comprise 400 Performers, selected from the Band of the Royal Italian Opera and the Members of the Vocal Association.

The Programme will include Meyerbeer's "Grand Exhibition Overture." Auber's ■ Grand Triumphal March," and Professor Sterndale Bennett's " Inauguration Ode" (the Poetry by Alfred Tennyson), in addition to a Miscellaneous Concert of a very attractive character, in which Mad. Lemmens-shbrrinoton, Mr. Sims Reeves, and Mr. Ascher will appear.

Further particulars will be duly announced.

Stalls, 's..; Reserved Seats, 3s. 6d.; Tickets, S and Is.

To be had of Boosey & Sons, Holies Street, and the principal Musicsellers.

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Now Ready, in Two Vols., with Portraits, 2i».,














ST. JAMES'S HALL. —Mr. J. LEA SUMMERS' Second GRAND EVENING CONCERT, Friday, May 30, under distinguished Patronage, in Aid of the Institution for the General Welfare of the Blind. PROGRAMME:

Part I—Terzetto, "L'usato Ardir," Semiramidc, the Sisters Marcrisio and Sig. Cossklli (Rossini); Song, "Love in her eyes," Herr Reichaudt (Handel); Duo, Andante and Rondo, Pianoforte and Violin, J. L. Summers and Herr Joachim (J. L. Summers); Grand Duo, " No Matidl Morrai," the Sisters Marciiisio (Rossini); Solo, Violin, •• Elcgie," Herr Joachim (Ernst) ; Songs, " Come, dear one, back to me" (J. L. Summers), and "Good night," cradle song, Herr Reichardt (Reichardt); Sonata Pianoforte, " Ne Plus Ultra," J. L. Summers (Woelfl).

Part II—Duo Bolero, "Les Diamants de la couronne," the Sisters Marcristo (Auber); Sonata, Pianoforte and Violin, J. L. Summers and Herr Joachim (Beethoven); Duo, "Giorno d'orrore," the Sisters Marciiisio (Rossini); Barcarolle, "Sulla Poppa," Sig. Cosselli (lticci); Solo, Pianoforte, J. L. Summers (Mendelssohn).

Conductors: Sig. Ll Calsi and Mr. George Lake. Stalls, 10s. 6d.; Tickets, 5s.,3s., Is. At the principal Musicsellers; AusUus Ticket Office; the Institution, Euston Road, N.W.; and James Lea S"*"Uiers, 10 Great Marlborough Street, W.

QUEEN'S CONCERT ROOM, Hanover Square.—
GRAND CONCERT In aid of the Band Fund or the 48th Middlesex Rifle
Volunteers (the Havelock), under the command of Lieut.-Col. George Cruick-
Shank, Thursday Evening, May 21+, under distinguished patronage. —

Artists: Mile. Parepa, Mile. Georgi, and Mad. Laura Baxter; Mr. GEORar^*^ TV 7.
Perrew, Mr. Lawler, Mr. Ramsden, Mr. George Biicklind.
Violin : Mr. H Cooper ; Oboe, Mr. Grattan Cooke; Grand Pianoforte, Mis Kmx- -.


To commence at 8 o'clock. Reserved Seats, 7 preserved Seats, 5a. T(^$mni6^\' the Queen's Concert Room, Hanover Square, and at the principal Miuicshopji ■< m\-\



CONCERTS.—BLEVENTH SEASON, 1862. ROGJtAMME of the FOURTH CONCERT, oa Wednesday Evening, May 28, to.'commence at 8 o'clock.

The PUBLIC REHEARSAL will take place This Afternoon, at half-past two o'clock.

Part I.—Overture, FingaPi Cane (Mendelssohn) s' Duo, "Quis est homo?" the Sisters Marchisio (Rossini); Symphony, in C minor, 1. Allegro, 2. Andante, 3. Scherzo, 4. Finale, Allegro (Beethoven) ; Grand Duo, " Di qual soave lagrime," Sqffb, the Sisters Marchisio (Pacini); Overture, Jessonda (Spohr).

Part II—Concerto, in Gminor, for Pianoforte and Orchestra, Pianoforte, Herr Jaell (Mendelssohn); Duo, "Serbami ognor," Semiramide, the .Sisters Marchisio (Rossini) i Overture, Her Freitchiitz (Weber).

Conductor: Dr. Wyldr.

Single Tickets for the Public Rehearsal—Stalls, 7s.; Balcony, 9s., Gallery and Area, Is: For the Concert— Suits, 10s. Od.; Balcony, 10s. Cd., 7s., 5s., and 3s.; Gallery and Area, Is. To be had of Messrs. Cramer & Co., 201 Regent Street; Messrs. Chappell ft Co., 50 New Bond Street; Mr. Ollivier, Old Bond Street; Messrs. Keith, Frowse & Co., 48 Cheapstde: and at Mr. Austin's Ticket Office, St. James's Hall.


ST. JAMES'S HALL,—Mr. W. G. CUSINS' GRAND CONCERT, with full Orchestra and Chorus, Thursday Evening, June 6. Artists: Mad. Lemurns*Sherrington, Messrs. Sims Reeves and Santlby, and the Orpheus Glee Union; Messrs. Joachim and Piatti, Professor Stbrnpale Bennett, Messrs. Harold Thomas and W. G. Cusins.

Professor Sterndalc Bennett's Exhibition Ode, under the Composer's direction, and Auber's Grand Exhibition March will be performed; also a new MS. Overture, by Mr. W. G. Cusins, and Beethoven's Grand Concerto, Concertante, for Pianoforte, violin, and Violoncello, with Orchestra.

Stalls, 10s. 6d.; Tickets, 5s., 3., Is. At the Hall, and the Music Warehouses, Stall* may be had of Mr. W. G. Cusins, 2a Cavendish Street, Portland Place, W.

MR. DEACON'S THIRD AND LAST SEANCE of CLASSICAL INSTRUMENTAL MUSIC wilt take place on Monday, May 36, at 16 Gros?enor Street, W. (by permission of Messrs. Collard), commencing at 3 o'clock.

Programme: Quartet in D, Mendelssohn; Sonata Pastorale, Beethoven; Pensees fugitives, Ernst & Heller; Sonata In E flat. Violin and Piano. Mozart; Berceuse, Schumann; and Lieder ohne Worte, Mendelssohn; Pianoforte Quintet in D, Spohr.

Executants: M. Sainton. Messrs. Carrodus and H. Webb; Sig. Pezzb, and Mr. Deacon.

* Tickets, Half-a-Guinea each; to admit three, One Guinea. To be had of Mr. R. W. Ollivier, 10 Old Bond Street,; or of Mr. Deacon, 72 Welbeck Street, Cavendish Square, W.

nounce that their MORNING CONCERT will take place at the Hanover
Square Rooms, May 29, to commence at 3 o'clock.
Vocalists: Mad. Rirder, Mile. Hauschteck, Mile. Behrbks.
Pianoforte: Mr. A Ribs; Violin. Mr. L. Ribs; Violoncello, Mr. E. Vieuxtemps.
Tickets to be had at the principal Musicsellers, and of Messrs. Hies, 1a Devonshire
Street, Portland Place, W.



R. MITCHELL begs to announce that arrangements

have been made for the performance of Haydn's Oratorio, '* The Creation," and Mendelssohn's '* Elijah," the proceeds of which will be presented by Mr. and Mad. GMdschmldt respectively to the undermentioned Benevolent Institutions .—

1. Wednesday Evening next. May 28. " THE CREATION,*' by HAYDN, in behalf of the Hospital for Consumption and Di* eases of the Chest, B romp ton.

2. Wednesday Evening, Juno 4, MENDELSSOHN'S ELIJAH,'" in Bupport of the Royal Society of Musician* and the Royal Society of Female Musicians. The principal vocal parts in these performances will be sustained by Mad. Lind-goldschmidt, Hiss Palmer, Mr. Sims Reeves, Mr. W. H. Weiss, and Sig. Bellettj. The Band and Chorus will be complete, comprising upwards of 600 performers.

Conductor, Mr. Otto Goldschmidt.

To commenco on each occasion at 8 o'clock precisely. Reserved and Numbered Seats, One Guinea; Unreserved Seats, Half-a-Guinea.

Seats will be appropriated according to priority of application, which may be obtained at the principal Libraries and Musicsellers, and at Mr. Mitchell's Royal Library, 33 Old Bond Street, W.

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MRS. MERE ST'S (late Maria B. Hawes) Third and Last SOIREE will take place on Friday Evening next, May 30, at 7 Adelphi Terrace, at half-past eight o'clock, unJer the Patronage of their Royal Highnesses the Duchess of Cambridge and the Princess Mary Adelaide.

Family Ticket*, admitting three, One Guinea; Siugle Tickets, Half-a-Gnlnea. To be had ot Mrs. Merest, 7 Adelphi Terrace.

MISS FANNY CORFIELD begs to announce that her MORNINo CONCERT will take place at 16 GROSVENOR STREET (by kind permission of Messrs. i "iu.-.i •, on Wednesday, May 28, at half-past three o'clock. Vocalists: Mad. Gubrraeblla ..„a Miss Eleonora Wilkinson. Inttrumentalists: Herr Moliqub, M. Pa Quis, and Miss Fanny Corfield. Conductor, Mr. A. O'leary. Single Tickets, Half-a-Gulnea; Family Tickets (to admit throe), One Guinea. To be had of Miss F. Corfleld, 29 Burton Street, Eaton Square, and of Cock, Hutchlngs & Co., 63 New Bond street.

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MR. APTOMMAS'S HARP RECITALS on the following Tuesdays, May 27, June 10, 34, and July 8. The following eminent Artists will assist i—

Vocalists: Mile* Parbpa, Mad. Florence] Lancia, Mad. Laura Baxter, Hi** Mbssbnt, Mits Hansford; Mr. Swift, Sig. Fortuna, Mr. Allan Irving, Mr. Leonard Walker.

Piano: Herr Kohb. Mr. Charles Salaman, Mr. G.A. Osborne, Mr. Arthcr Napoleon; Organ, Herr Enoel; Violoncello, Mr. Georoe Collins; Violin, Mr. H. Weist Hill; Harp. Mr. John Thomas, Herr Oberthur, Mr. Aptommas.

Conductors: M. Benedict, Herr Wilhelm Ganz, M. Emile Berger, M. FranCesco Berger, and Sig. Campana.

At the recital of Tuesday, May i7, Mr. Aptommas will play Spohr's sonata for Harp and Violin, with several moiceaux by Zanbtti, Oodefroid. and John Thomas.

To commence, on each occasion, at 3 o'clock. Tickets, 10s. Gd. and 7s.; Three Ticketi for one Recital, 15s.

HERR MOLIQUE begs to announce that his CONCERT will take place at the Hanover Square Rooms, FRIDAY MORNING, June 13. Full particulars will shortly appear.

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HER MAJESTY'S THEATRE. Ox Saturday, the announcement of // Trovalore, with Mile. Titiens and Sig. Giuglini, attracted a large attendance. The admirers of Verdi, however, were doomed to disappointment, as Sig. Giuglini was suffering from indisposition, and, according to a medical certificate distributed through the house, could not sing. The Barbiere was therefore given instead, with Mile. Trebclli as Rosina; and wo must say the young lady showed a greater regard for the interests of the establishment than her own special advancement The audience were not in the mood to receive her, and when she came on the cold reception that awaited her must have dispirited an older and more experienced artist. Fortunately, Mile. Trebelli is not wanting in confidence in her own abilities, and although somewhat abashed, shown particularly in her acting, she sang the opening cavatina with a charm of voice, a freedom of delivery, and a facility, that immediately created an interest in her favour. The duet with Figaro, " Dunque io son," was even more to the taste of connoisseurs, inasmuch as it was given entirely (all but entirely, the Alboni variation in the ensemble excepted) as Rossini wrote it. That Mile. Trebelli is a thorough mistress of the florid school was at once universally allowed ; and from the duct onward the career of the young artist was watched with curiosity and interest. The piece introduced for the lesson song was written expressly for her by Sig. Alavy, and consisted of variations to "Sul margine d'un rio," and might indeed be denominated a vocal fantasia. Anything more difficult, or more ineffective, we never heard. Mile. Trebelli sang it with wonderful fluency, but there ■was no response from the hearers. It failed to charm them. It was no fault of the singer, most assnredly, who, had she sung Rodc's air with the same quality of voice and the same brilliancy of execution, would have created an enthusiastic sensation. In the last scene the audience warmed up a little, and being prepared by the singing in the trio, " Ah qual colpo !" absolutely condescended to encore "Zitti, Zitti."

M. Gassier sustained the part of Figaro, Sig. Bettini that of Almaviva, Sig. Zucchini that of Bartolo, and Sig. Laterza that of Basilio. Sig. Zucchini was entirely new to the English public, a thing to be wondered at, seeing that he is a thorough good buffo, and that buffos are difficult to obtain. 1 lis humour is somewhat dry, but he has humour, and sings well without much voice. His dibit was decidedly successful. M. Gassier makes a capital Figaro—the best, indeed, on the operatic stage after Ronconi. His acting is full of life and spirits, and he sings tlie music, not only with unusual facility, but great command of voice 'the Basilio of Sig. Laterza is slow and solemn, and not very artistic Sig. Bettini executed all the music of the Count with care and fluency, and that is saying no little fcr such music. That he is, however, the beau ideal of a Spanish nobleman we cannot assert.

The overture was a most admirable performance, but did not obtain one hand of applause. So much for reputation. A slight acceleration of the tempo in the first finale was not an improvement.

To gratify the Verdi-disappointed, Mllo. Titiens sang the mad scene from Lucia, which in reality woke the audience from their slumbers, and CTeated a perfect furore.

The new ballet-divertisement followed.

On Tuesday the Trovatore was again announced) and this time it was really given, and with Sig. Giuglini too, though somewhat shorn of his vocal strength. Sig. Giuglini indeed was determined to make a martyr of himself sooner than disappoint the public a second time; and so lie appeared, and, in spite of an evident hoarseness, sang tho entire of the music of Manrico. For this tho audience cheered him lustily, and certainly he never seemed in greater favour than when he was least able to sing.

Mile. Trebelli took ample revenge in Azucena for the coldness with which she was received in Rosina, This time, indeed, the audience were prepared for the young lady; and although they did not greet her with enthusiasm on her first appearance, they listened attentively to her, and applauded her unsparingly in the first air of the gypsy, " Stride la vampa ;" and still more in the long narrative song, " Condotta ell' era," which she sang and acted with immense fire and energy. After this scene she was unanimously recalled. In the sceno before Count di Luna's tent—she had now challenged attention—she produced a still greater effect by her powerful acting and admirable singing, and was again recalled with enthusinsm. In the prison scene Mile. Trebelli's singing was entitled to the very highest praise. The beauty of the voice, the perfect intonation, the phrasing and the method, were all worthy of Alboni—and higher praise it is impossible to bestow. To be brief, Mile. Trebelli achieved a great and legitimate success in Azucena, and cannot fail to prove an immense acquisition to the theatre. Mr. Mapleson is

rich in Rossinian singers now; and as the "Sisters Marchisio" are likely to restrict their labours this year to Semiramide, we would suggest the

production of Cenerentola with the following cast: Angelina Mile.

Trebelli j the Prince—Sig. Bettini; Dandini—M. Gassier ; and Don Magnifico—Sig. Zucchini; with the proviso, be it understood, that the two sisters (why not the " Sisters Mnrchisio" ?) be well sustained.

Of Mile. Titiens' magnificent impersonation of Leonora it is enough to say that, if anything, it was more magnificent than ever, and that the audience was never more deeply moved by her 6inging and acting.

Sig. Giraldoni essayed the part of the Count Di Luna, with moderate success; and Sig. Bossi (we missed M. Gassier) was industrious and painstaking in Fernando.

On Thursday the Trovatore was repeated.

ROYAL ITALIAN OPERA. On Saturday Iiigoletto was given for the first time this season* About the Gilda of Mad. Miolan Carvalho, the Maddalenn of Mad. Nantier-Didiee, the Dnca of Sig. Mario (with his incomparable "Donna e mobile"), or the Sparafucila of M Tagliafico, we have nothing new to say. Enough that they were all as effective as before. Of Sig. Delle Sedie's Iiigoletto we prefer speaking in detail after a second hearing. It is no slight matter to succeed Ronconi in such a part; and Sig. Delle Sedie is too conscientious an artist to be dismissed without ceremony.

The opera on Thursday night was Don Giovanni, and the house the most crowded of the season. Perhaps in no character has Mile. Patti more completely won the sympathies of the English public than in that of Zerlina. The village flirt, idealized by Mozart's music — who can soothe her jealous lover with such enchanting melodies as "Batti batti" and "Vedrai carino," and coquet with his libertine rival to the insinuating strains of "Vorrei e non vorrei"—appears to fit her to tho life. Engaging as was her assumption last season, it is still better now. A very little, indeed, is wanting to make it quite perfect; and, to judge from experience, that little will be speedily acquired. Even since the first representation of Don Giovanni, some ten days ago—to which we were only able, at the time, to devote a sentence—Mile. Patti has made alterations and improvements which afford good reason to believe that, off the stage as well as on, she is constantly thinking of her art. Her costume now, instead of the ball-dress of a lady, is the veritable attire of a peasant—gay and parti-coloured, because she is on the eve of her wedding, but in no respect exaggerated. Her share of the duct with Giovanni, the inimitable "La ci darem la mano,"—especially her archly hesitating delivery of the stanza, apart, "Vorrei e non vorrei" ("I would and I would not"), and her exclamation of sympathy for the absent Masetto (" Mi fa pieta Masetto ")— was already irreproachable. "Batti batti," however charmingly fresh, still admitted of some slight improvements. There nsed, for example, to be a trifling cadenza (not Mozart's) connecting the first movement with the last ("Pace, pace, o vita mia") — besides a point or two which, wearing the semblance of calculation, robbed the acting in a measure of its spontaneity; but the cadenza — to the graac satisfaction of purists — is abandoned; while the artificial bye-play (it is needless to enter into particulars) has been so toned down thnt nothing can possibly be more natural, nothing more artlessly graceful. Rarely, indeed, has this incomparable sceno with Masetto been more admirably played, never more exquisitely sung. *' Batti batti," '• Vedrai carino"—in which Zerlina consoles Masetto for the drubbing he has received at the hands of Don Giovanni, as with " Batti batti" she appeases his jealousy on account of tho same personage — and " La ci darem" were redemanded unanimously, and all three repeated with increased effect. Sticklers for Mozart's text in its absolute integrity — except the transposition of the last note in "Batti batti," and a very delicate embellishm«t in the middle of "Vedrai carino," which might be rejected without detriment—have now literally nothing to criticise. Apart from the music, which on the whole could not be more chastely or more expressively rendered, Mile. Patti's general conception of Zerlina is as nearly as possible faultless. And then, to complete the charm, she looks the character to perfection. Mad. Pcnco's Donna Anna has been highly spoken of, and not without cause. In each parts as Ninetta {La Gazza Ladra), &c, she is doubtless more at home; but a singer trained in tho most legitimate school, and an actress familiar with the traditions of the stage, this clever lady is not likely to fail in anything she undertakes. The Donna Elvira, too, of Mad. Csillag is earnest, correct, and intelligent Thus the women partsinthis extraordinary work—which is far more popular now than when it was first produced, three-quarters of a century since —are, without reservation,in the handsof artists competent to sustain the classical repute of the Royal Italian Opera; and not only "Batti batti" and "Vedrai carino," but those loftier flights of dramatic 6ong, " Or cho sai l'indegno" (Anna), and " Mi tradi quell' alma ingrata " (Elvira) are fairly and effectively interpreted. Of M. Faure's Don Giovanni we can only say now what we said last year—that, Frenchman though he be, since the justly renowned impersonation of Tamburini, whether looked at from a musical or dramatic point of view, there has been none worthier than his. His "La ci darem " is winning and persuasive, his "Finche dal vino" full of spirit, and his interview with the statue, in the finale to the last act, dramatic and powerful. How well in this unequalled passage he is supported by M. Tagliafico, the best " Commendatorc " ever heard, and by Herr Formes, the most busy and aspiring of Teutonic Leporcllos—too busy, indeed, with this particular scene, where the interest should be centred exclusively in Don Giovanni and the statue, and Leporcllo kept modestly in the background, just as Herr Formes used to represent it — it is scarcely requisite to add. Signor Ciampi's Masetto is painstaking and dry, not nearly so humorous as that of Sig. Bonconi, and not nearly so pleasant and natural as that of Sig. Polonini. In "Ho capito" he reminded us frequently of Dr. Bartolo, and here and there the melody was rather shouted than intoned. Sig. Tamberlik's Don Ottavio is as manly, vigorous, and striking as ever, and, although he respectfully declined the "encore" awarded to "B roio tcsoro," the house was not less anxious to hear it again than the four pieces—including the trio of masks, "Protegga il giusto cielo," with Mesdames Fenco and Csillag, which, by the way, would lose none of its effectiveness if sung in time—which were actually repeated. The band was magnificent; the chorus, in the superb finale of the first act— where, it may be relevant to state, Mozart did not intend a chorus any more than he intended one in the finale to Le Nozze di Figaro—all that could be wished; and the execution of the opera generally one of the most efficient we remember of late years, under Mr. Costa's direction. Nevertheless, wo must protest against the introduction of the minuet " a due" in the ball scene, by which Mozart is made to repeat himself in a manner altogether at variance with his consummate notions of symmetry. However well done (and it is invariably well done at Mr. Gye's theatre), this is a blot upon a magnificent finale, which ought not, under any circumstances, to be tolerated.

The Barbiere, to-night; the Sonnambula* Monday l Tuesday, Martha; Thursday, Don Giovanni; Saturday, Les Huguenots, with a new singer— Mile. Antonietta Fricci, as Valentine.

CRYSTAL PALACE CONCERTS. It was a " field-day" on Saturday at the Crystal Palace. Herr Auguste Manns, the spirited commander of the musical forces of the "Company," had invited Meyerbeer to a concert j and the renowned musician, with proverbial courtesy, not only accepted the invitation, but superintended the rehearsals of his Grand March composed expressly for the coronation of the reigning King of Prussia. To this march, on the day of the concert, the place of honour was assigned; and, in order to give due effect to its execution, the Crystal Palace band was nearly doubled, the additional performers consisting of practised instrumentalists from the "metropolis," together with a military brass band, under the direction of Mr. Godfrey, stationed in the gallery, to the left of the platform. Thus the composer's design of having two separate orchestras was literally carried out. Since the coronation of the King of Prussia at Konigsberg last October, when it was played by the combined military and concert bands during the Royal procession from the Chateau to the Church, M. Meyerbeer's Grand March had nowhere been performed till now. That he should have produced it first in England must, therefore, be regarded as a direct compliment to the musical public of this country, where his works are so universally admired and popular. M. Meyerbeer has certainly no reason to complain of his reception here j and, bearing in mind the enthusiastic greeting he has met with in every quarter, he may probably, when the last touch is put to the already celebrated, though still invisible and intangible Africaine, be induced to pay us another visit.

The "Coronation March" is [scored, as wo have said, for two orchestras—a grand orchestra of "string," "wind," and " percussion," and « smaller orchestra of "brass." The ingenuity with which the two hands are alternately isolated and combined is not less remarkable than the vigour and originality of the phrases and harmonies allotted to each. A much less elaborate composition than that which M. Meyerbeer contributed to the opening of our International Exhibition, the Coronation music lays no pretension whatever to the overture form, but adheres exclusively to the rhythmical character of the march. Like the Coronation March in the opera of the Prophite (to which gorgeous piece, by the way, it offers some other slight resemblances), it is written in the key of E flat. Thcjleading theme, which is frequently heard, and always with new and striking features to signalize its reappearance, is bold and measured, strongly accentuated, and laid out for the orchestra

with extraordinary grandeur—just such a theme, and just so treated, in short, as was fitted to illustrate a high and important solemnity. The continuation, led off by the small orchestra, and answered by the great one—each, as it were, striving to appropriate to itself the most responsible share of the melody — is admirably in keeping. Nothing could contrast more forcibly with this than the peculiarly Meyerbcerish passage, in "unison" (for all the "strings"), which immediately follows. Here the wind instruments are occasionally made to join in with an effect both novel and piquant; and the effect is as stirring as in what goes before it is pompous and majestic. When, through a skilfully managed crescendo the leading theme is resumed in extenso, we have, in an appropriate key, the first "Trio" — announced by kettledrums, grosse caisse, bassoons, &c, — one of those graceful and continuous "songs" with which M. Meyerbeer has the secret of relieving what might otherwise be termed the "monotonous splendour" of his marches. The instrumentation of this trio is fanciful and replete with charm, the short and abrupt re. sponses of the smaller orchestra, at the end of each sentence of the opening phrase, being suggestive of a desire to interrupt at intervals the tranquil course of the melody. After a quaint, half-plaintive episode, in which the minor and major keys are curiously alternated, the subject of the "Trio " is given fortissimo, by the large orchestra, the responses of the lesser or.e being now, in turn, pianissimo. Thus, a fresh interest is created, and that variety of colouring attained which, judiciously and sparingly employed, becomes one of the most powerful instruments of effect. A nother very striking crescendo — in which the obstinate reiteration of one particular note (" B flat" — the " dominant note," if the technical expression may pass, of the principal key), against all sorts of changes of harmony, will hardly escape the attention of musicians—once more introduces the leading theme. Only the first strain is now repeated—a second " Trio," in a new key, appearing unexpectedly and without preliminary. The character of this second "Trio," not less gracefully melodious, from the manner in which it is instrumented, from the part assigned to the smaller orchestra (and from occasional faint reminiscences of a certain duet in the Prophite), is essentially opposed to that of the first. When developed it is interrupted by another crescendo (especially daring in its progressions of harmony), which brings back once more the leading theme, and the opening bars of which are again made to suffice. The coda is now heralded by the drums, and a lively theme — in a different tempo, though in the same key — announced by the smaller orchestra and answered by the other, imparts fresh interest and animation to what one might have imagined stood in no further want of either. This new subject is, however, merely a brilliant preamble to the real climax, the Prussian national air '-Ich bin ein Preusse " (composed by the late Augustus Neidthardt, founder and conductor of the celebrated Berlin Dom chor), in the sonorous and magnificent setting forth of which M. Meyerbeer, with the happiest results, has combined the resources of both orchestras. It would have been difficult to end an inspiriting march in a more entirely satisfactory and imposing manner.

The execution, under the direction of Herr Manns, who probably never till now had the good fortune to conduct so large and powerful an orchestra, was superb from beginning to end. The design of the master was ns clearly and pointedly expressed as he himself could have desired, and as he himself could have made it, had he wielded the baton instead of Herr Mann's The sensation produced on the audience was spontaneous. The applause, deafening and prolonged, was mingled with repeated cries for "Meyerbeer," till at length the great musician was led forward by Herr Manns and vociferously cheered. The March, by unanimous desire, was then repeated, and the second performance was, if possible, even better than the first.

The concert began with one of the finest performances of Beethoven's prodigious C minor symphony to which we have ever listened, in England or elsewhere. This grand masterpiece, it is pleasant to record, was keenly appreciated, and, after each successive movement, warmly applauded. The clever and popular sisters, Carlotta and Barbara Marchisio, contributed three of their favourite duets, "Quis est homo?" and "Giomo d'orrorc," from the "Stabat Mater" and Semiramide of Bossini, and a cavatina by Pacini, all of which were sung to perfection. The last piece in the programme was Weber's Jubilee overture, terminating with our own national anthem of " God save the Queen " — the "Ich bin ein Englander," to match with the "Ich bin ein Preusse " of Herr Neidthardt.

SONS OF THE CLERGY. The 208th festival of the Sons of the Clergy — "in aid of the funds of the corporation for assisting necessitous clergymen, pensioning their widows and aged single daughters, educating, apprenticing, and providing outfits for their children" — took place on Wednesday afternoon, under the dome of St. Paul's Cathedral. It would be superfluous to do more than solicit renewed attention on the part of the public to this very admirable institution, the origin, purport, and claims of which have been described over and over again. A brief quotation from the circular address of the governors, nevertheless, may not be out of place — more especially inasmuch as it throws some light upon the actual condition of the charity and upon the most urgent aim and wants of those who are intrusted with its administration:—

"The society annually assists by pensions and donations about 1,250 persons—clergymen, their widows, aged single daughters, and children. During the last year 17,031/. have been distributed among these classes; but so numerous are the applicants that the funds permit only of very limited, and often inadequate, grants being made. It is especially desired to raise the amount of the pensions to the widows and aged single daughters of deceased clergymen, of whom there are at present no less than 712 receiving pensions from 10/. to Ml, per annum; and the governors feel confident that there must be many wealthy and benevolent individuals who would be happy to assist in so just and good an object, did they know the extent of the pecuniary distress, and consequent suffering and privations into which a large number of excellent ladies are thrown by the death of husbands and fathers, whose lifeincomes as clergymen afforded no means of laying by a provision for their widows and orphans."

The festival was celebrated, as usual, by full choral service, the ordinary choir of St. Paul's Cathedral being reinforced by the choirs of Her Majesty's Chapels Royal, Westminster Abbey, St. George's Chapel (Windsor), &c, —in all about 250 voices. Service commenced at half-past three o'clock, by which time the whole of the spacious area under the dome was filled, the chief civic and cathedral dignitaries being, according to annual custom, among the congregation. Mr. Goss, Organist of St. Paul's (assisted by Mr. George Cooper, of St. Sepulchre's—the excellent Sub-Organist, Mr. Goss's occasional representative), superintended all the musical arrangements with his wonted ability. The prayers were intoned by the Rev. J. A. Coward, and the lessons read by the Rev. J. V. Povah, minor canons; the sermon being preached by the Rev. A. W. Thorold (Rector of St. Giles's), who chose for his text the 8th verse of the 14th chapter of St. John—"Lord, show us the Father, and it sufEecth us." The music to the "suffrages" was by Tallis; and we believe it would be impossible to improve upon the solemn and stately harmonies which the fine old English master has bequeathed to us for this important part of our Cathedral service. As much can hardly be said for the music of Kent—" Cantate Domino" and " Deus miseretur" —after the first and second lessons. That something worthier than this can be written, and by English composers, too, has in many instances been shown, and was triumphantly proved on the occasion under notice by Mr. Goss himself, to whose new anthem, introduced for the first time at a grand public religious ceremonial, we shall presently allude. The final chorus from Dr.Croft's Anthem in E ("Cry aloud and shout, thou inhabitant of Zion"), which followed the third collect, is just as favourable an example of our English school of church music as the anthem of Kent is the contrary. Croft's harmony, though by no means elaborate, sounded almost sublime in juxtaposition with such twaddle, the perpetuation of which can answer no object, unless it be that of lowering the taste of choir singers. Crofc was a master of whom we have reason to be proud; Kent a commonplace musical pettifogger — cathedral composer "by courtesy." The anthem of Mr. Goss is the work of a master. Less ambitious than the one he wrote for the funeral of "the Great Duke," it is in some respects even more attractive. Its form is quite new, the trite conventionalities which have long been respected, as canonical, being set at naught, and music allowed, for once, to speak in tones as captivating as impressive. The words (suggested by the Rev. W. C. Webber, to whom the anthem is dedicated) are borrowed from the 35th chapter of Isaiah An introductory recitative for solo bass voice (Mr. W. Winn, of the Cathedral choir, one of our most eminent public concert-singers), " The wilderness and the solitary place shall be glad for them," leads to a trio for alto, tenor, and boss— "Strengthen ye the weak hands"—the flowing melody, the tasteful and ingeniously varied harmony of which by no means invests it with a secular character, but amply reflects the devotional fervour of the text. The words, "He will come and save you, even God," are set with a feeling closely akin to the "poetical — beautifully set, indeed, and not less appropriately than beautifully. Unobtrusive as this passage may appear on paper, unimpressive, possibly, to Grcgorianists and to those who hold that cathedral music should either consist exclusively of diatonic harmonies or of intricate contrapuntal contrivances, it could not under any circumstances have occurred to an ordinary thinker, or to an ordinary musician. That Mr. Goss can compose elaborately, when it pleases him, is tolerably well known ; the style he has adopted

in this anthem was, therefore,-by choice, not necessity; and his success must be accepted as a legitimate achievement. The trio gives way to a short recitative for tenor voice (solo), the preamble to a vigorous fourpart chorus—" For in the wilderness shall waters break out" — in the course of which tho " treble " voice is felicitously treated as "solo," and phrases assigned to it as melodious as they are richly harmonized. Mr. Goss, indeed, writes for voices, whether in "parts" or in " solo," with masterly clearness. To the chorus — the only fault of which is its brevity — succeeds a choral recitative, for tenors and basses (" And a highway shall be there "), somewhat after the style of Mendelssohn, though in no respect a plagiarism; and out of the recitative springs, naturally and effectively, a full chorus (allegro)—"And the ransomed of the Lord shall return " (again erring on the score of conciseness) — which terminates, as happily as could be desired, a work no less admirable for purity than for scholarly correctness and musical charm — a work, in short, which, composed without effort, has not the less completely attained its object. The anthem, after the sermon, was one of the loveliest of the choruses in Mendelssohn's Elijah — " He that shall endure to the end shall be saved." On the whole the musical performance was excellent. Mr. Goss's anthem (accompanied on the organ, like the other pieces, by himself) was well given, considering that, before the rehearsal, it was unknown to the united choirs. That it will frequently be heard we cannot doubt; and that "Goss in G" may henceforward take the place of the worn-out platitudes — " in C," "in F," or "in D"—with which our church service has been degraded we earnestly hope. It is well to possess a cathedral organist able to compose anything so sensible and attractive. The organ used on this occasion was the one recently purchased for the services "under the dome"— perhaps the finest ever built by the eminent firm of " Hill." That it should still remain unfinished, uncased, unfurnished, and consequently unsightly; that it should still be unsupplied with the hydraulic process boasted by its venerable companion and predecessor, the work of Father Smith; still be dependent for its "voices " on the muscles and sinews of eight stalwart organ-blowers; and still inevitably be out of order, seems difficult to explain. A general opinion is current that had this splendid instrument been the property of a Gothic Cathedral such would not have been the case —that money, in short, would have been found to provide every requisite. Why this indifference should exist with regard to the noblest Italian ecclesiastical structure out of Rome, those may best explain who entertain it. The present condition of the new organ in St. Paul's Cathedral is at any rate, a disgrace to the " metropolis."

The meeting of the Charity Children is to be held on Thursday June 12.

(From the Morning Post.)

"Tub third concert of the season took place on Wednesday evening at St. James's Hall. The first piece in the programme was M. Meyerbeer's overture composed for the opening of the International Exhibition. In one sense this admirable composition was done ample justice to, for it was very finely performed; but in another sense the work and the world-wide reputation of its author, no less than the vehementlyexpressed re-demand of the entire audience, were somewhat cavalierly treated. Why did Mr. Alfred Mellon so obstinately resist the quite unmistakcable call for repetition that spontaneously and unanimously followed the capital execution (under his able direction) of this wonderfully brilliant and masterly piece of music? Does the old English adoration of clever dullness—of those musical 'poets,' who write as Tybalt fought, 'by the book of arithmetic '—still govern the proceeding's even of our ' young societies?' If not, whence this rather contemptuous treatment of the great author of Les Huguenots, Robert le Diable, Le Prophite, L'Etoile du Nord, Dinorah, and other masterpieces too numerous to mention—this implied rebuke to the audience. for their want of taste? Who is the man connected with the direction of the deservedly-famous Magical Society of London capable of writing a march ' in the form of on overture,' or in any other form, half so melodious, genial, brilliant, and to the purpose, as this fresh, vigorous, and delightful production of M. Meyerbeer's genius? Why, then, was it not duly honoured? Why was not the undeniable encore it elicited as readily taken as was, that awarded to another instrumental composition of greatly inferior merit.

"After the audience had laboured in vain for a long time to procure a repetition of M. Meyerbeer's overture, Mile. Parcpa came forward, and sang in her very best manner, and with the happiest effect, Mendelssohn's noble scena ' Infelice.' Then we had a clever rendering of Spohr's concertante duet (with orchestral accompaniments) in B minor, by Messrs. Alfred and Henry Holmes; next, a scene, by Hummel, 'Riuscito sono

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