alfin' (from the opera Matilde di Guisa), cleverly instrumented by Mr. Alfred Mellon, and sung with great energy and dramatic accent by Mr. Santley; and the first part was brought to a close by Mr. Arthur Sullivan's music to the fourth act of Shakspeare's Tempest, the vocal parts in which were admirably sustained by Mlle. Parepa and Miss Robertine Henderson. The exemplifications of Mr. Arthur Sullivan's talent introduced on this occasion served but to confirm us in the opinion we have already expressed respecting it. Few, perhaps, could imitate a great master like Mendelssohn so consistently or attractively; but Mr. Sullivan must emancipate himself-be warned by his own native rage'-before we can accord him the artistic position which his friends seem determined to claim for him. The instantaneous repetition of his servilely Mendelssohnian Dance of Reapers, after the inexorable resistance to the desire of the public in the case of Meyerbeer's overture, was neither flattering to Mr. Sullivan nor honourable to the Society.

The second part of the concert opened with a superb performance of Mozart's so-called Jupiter Symphony,' a work which, despite all that has subsequently been written in the same department of composition, still stands its ground as a monumental model of creative art. This was followed by Sig. Verdi's duet (from Rigoletto), Figlia! mio padre,' beautifully sung by Mile. Parepa and Mr. Santley, the concert terminating brilliantly with Spontini's overture to Nourmahal. "The hall was crowded in every part."

Provincial.

Our own Correspondent at Belfast sends us the following interesting particulars of the inauguration of the new Ulster Hall:"The long-expected event- the opening of the Ulster Hall - has at last taken place, and Belfast may now justly pride itself in possessing one of the finest rooms in the kingdom as regards size and beauty, and one only excelled in its acoustical properties by the Birmingham Town Hall, which, however, it vastly excels in conveniences of every kind, especially for the artists, whose comforts have not been forgotten. For details of the Hall I refer you to the description given by the Weekly News.

"The directors have thought it advisable to postpone the proposed festival until the organ, now being built for it by Hill, at a cost of 3300l., is crected (which will be in December); and they gave the honour of opening the Hall to the Classical Harmonists' Society, who exerted themselves to the utmost to produce something worthy of the occasion; and I must congratulate them on the great success achieved by their two concerts of Monday and Tuesday last. The work chosen for the opening night was the Messiah, the judiciousness of which selection is thus treated by the critic of the Northern Whig :

"No selection of music for the opening of the new Hall could have been more judicious or in better taste than that made. It was very fit that the first sounds that should be listened to by a public audience in a building destined for many future purposes of recreation and enlightenment should be the divine harmonies of the grandest and most devotional music ever written, and that the name of Handel and his Messiah should be for evermore associated with the opening of our new Music Hall. Connected with the first step in any new undertaking there is always a shadow of the grave seriousness that attends the last, and no music would have been so appropriate to the occasion or so consonant with good feeling as that composed by the greatest musician to the greatest theme.'

"To render the oratorio worthily, the following singers were engaged:-Mad. Lemmens-Sherrington, Miss Whitham, Miss Moseley, Mr. Perren and Mr. Thomas; and the society's band was largely augmented by instrumentalists from Dublin and elsewhere, among whom we observed Mr. Levey, Mr. Hughes, Herr Elsner, Mr. Clements, &c.; the total number of performers, vocal and instrumental, exceeding 200. The performance was, on the whole, very good. But I must not take up your valuable space with further criticism; nor is it indeed necessary, as the singers are too well known to require it. The cordial reception given to the conductor, Mr. George B. Allen, must have been most gratifying to him, and is thus commented on by the Northern Whig :"We were glad to note the warm reception given to Mr. Allen, conductor to the Society, by both audience and orchestra, and feel assured that no one could better deserve it. The labour of bringing a Society from almost incompetency to its present pitch of efficiency can have been no slight one, and Mr. Allen's exertions have been uniformly those of a true artist, and in the path of a genuine musician. The

music he and the Society have brought out has been of the best and highest class, and their exertions to execute it worthily have been most praiseworthy. The stimulus supplied by the facility of so admirable a Hall for its production will, we trust, have its effect in rendering the Classical Harmonists a still advanced and advancing Society.'

"And when it is remembered what has been accomplished by the Society under his teaching; that four years ago the oratorio was, one may say, unknown in Belfast, and that Mr. Allen was considered quite an enthusiast for proposing to perform one; that since then several of the finest have been given, besides a large number of cantatas, anthems, &c.; and more particularly that it was through his and the Society's exertions and requirements that this splendid Hall has been built, it must, I think, be allowed that the honour shown was not undeserved. "I was also glad to see the warm reception given to Mr. H. Loveday, the leader and teacher of the Society's band.

"The performance on the second night consisted of Der Freischütz and a miscellaneous selection which embraced some of the popular songs of the day. Mad. Sherrington was encored in The shadow song,' which she sang to perfection. Miss Moseley and Mr. Thomas were respectively encored in "The gipsy girl,' and There's nothing like a fresh'ning breeze;' and Miss Whitham, Mr. Perren, and Herr Elsner were only excused from repeating their solos on account of the lateness of the hournear twelve o'clock.

"As the Hall was well filled on the first night, and was crammed with an audience of 2,500 on the second, the Society has every reason to be gratified with the success of its concerts in every point of view, and of the kind appreciation of their efforts by the public of Belfast."

Letters to the Editor.

SIR,-Permit me to call your attention to the notice of Mr. Richard Seymour's concert at St. James's Hall on Saturday, May the 10th, as reported in last week's MUSICAL WORLD. It is there asserted that Mad. Louisa Vinning was hissed, as were Mr. Fielding and Miss genuine, hearty, persevering and unanimous applause, and in proof I Rose Hersee. This is untrue. I most positively affirm they met with Mad. Vinning gave "Coming thro' the rye." mention their several encores. For the song of "The open window" Mr. Fielding responded

to the call for a repetition of "Live in my heart" by giving the last verse of the same. Miss Rose Hersee, after the cavatina "Bid me discourse," gave Arnaud's French romance "Chantez, ô ma fauvette" accompanied by herself; and in the second part of the concert, when encored in the song of "Cherry ripe," owing apparently to the lateness of the hour, instead of complying, the young lady returned her obeisance for the compliment. As the reviews in the MUSICAL WORLD are importance; you will, therefore, I trust, excuse me for pointing out the held as high authority by the musical public, such errors are of great misprint or mistatement, and believe me, respectfully yours,

PLAIN TRUTH. [The word "hissed" was of course a misprint for "bissed" (encored). -ED. M. W.]

"BISSED" NOT "HISSED."

SIR,-On arriving here to fulfil my engagement with the Sacred Harmonic Society of Newcastle, to sing the soprano solos in their performance of the Messiah on Thursday next, the MUSICAL WORLD of the 17th instant was placed in my hands, and my attention was directed to the following passage in your report of Mr. Seymour's Concert, St. James's Hall:

"Mad. Louisa Vinning was hissed in the ballad (The open window'), Miss Rose Hersee in 'Cherry ripe,' and Mr. Fielding in a ballad by Lover," which combination of words would imply that Mr. with which we were honoured. I did not hear Mad. Louisa Vinning Fielding and myself met with a reception directly the reverse of that sing her ballad; but your reporter will, I am sure, testify to the fact (of which Mr. J. L. Hatton and M. Emile Berger are witnesses) that both Mr. Fielding and myself were unanimously encored in the two songs named. I trust I may be excused for adding that my only other song, "Bid me discourse," was also encored, and was the first vocal encore of the evening.

I must rely on your sense of justice for the insertion of this letter, and the correction of an error which,-although, no doubt, purely accidental-might be seriously injurious to me at the present moment. I remain, Sir, your most obedient servant, ROSE HERSEE.

2 Jesmond Terrace, Newcastle-on-Tyne, May 20, 1862.

your

“BISSED” NOT “HISSED.” SIR,-My attention having been drawn to a critique in columns of the 17th May on "Mr. Seymour's Concert," in which you state that Mad. Louisa Vinning was hissed in "The open window," I beg of you to give this statement a most unqualified contradiction. The song was a decided success; and Mad. Louisa Vinning, whose long intercourse with the public leaves her no longer anxious to accept any but the most unanimous encores, was, on this occasion, compelled to reappear on the platform, and substituted another ballad-so loud and undivided was the applause.

Trusting you will find space for these few lines, I have the honour to be, Sir, obediently yours,

13 Hanover Villas, Notting Hill.

-S. HEYWOOD.

"BISSED" NOT "HISSED." SIR,-In your notice of the above-named concert, it is stated that Mad. Louisa Vinning was hissed in the ballad "The open window," Miss Rose Hersee in "Cherry ripe," and Mr. Fielding in an Irish ballad by Mr. Lover, "Live in my heart."

As such was not the case, but on the contrary each of those artists was encored (Mr. Fielding with enthusiasm), I trust you, with your usual fairness, will please to insert this, or explain the cause of the mistatement. Yours obediently,

2 Mabledon Place, W.C., May 23, 1862,

RICHARD G. SEYMOUR.

THE CRYSTAL PALACE.

SIR, Whether or not the refreshment contractors at the International Exhibition complain of the obstruction of their view of the Kensington Horticultural Gardens does not concern me. Suffice it to say that, if the 200 acres of gardeus and park, with the broad expanse of true English scenery, to be seen from our refreshment rooms, were hidden from view by a series of ugly tents, I think both the public and the contractor would not be long before they, like your reporter, pointed out the inconsistency.

I must beg your permission, however, to enter a friendly protest against the statement of the Secretary of the Horticultural Gardens, that "tents are preferable to any other structure yet tried for the exhibition of flowers."

Although I may be chargeable with a partiality for the old adage, "Nothing like leather," I trust you will permit me the opportunity for saying that, in common with a rather numerous class, I think the Crystal Palace is preferable to any other structure yet tried for the exhibition of flowers," particularly when the floral exhibition is combined with the attractions of a great musical fête.

66

My experience of flower shows leads to the conclusion that visitors are attracted to them as much from the pleasure of meeting and associating with friends, and looking at other visitors, as from a love of flowers or of music; and, as the spacious naves and transepts of the Crystal Palace afford far more opportunity for promenade, &c., than the tents of the Horticultural Society, with the additional advantage of being protected from wet or cold weather, I do claim for the Crystal Palace no inconsiderable superiority as a place for the exhibition of

flowers.

SIR, A few months ago the question of Meyerbeer's age was being very freely discussed, both in the English and Continental press. Without attaching so much importance to the question as many persons seemed to do, still I took the trouble of scarching diligently in such authorities as were at hand. The result of the enquiries appeared in the Brighton Gazette, dated Nov. 21, 1861. It was there shown that the majority of his biographers fix the year of his birth at 1794. To this assertion no contradiction has as yet appeared. It has, on the other hand, received no further confirmation. My object in writing is to provoke, if possible, a clencher from Herr (not Monsieur) Meyerbeer himself. He is now amongst us, and if upon this and another point he would kindly deign an explanation, the future historian would be spared much fruitless labour and research. The other doubtful point is Herr Meyerbeer's real name. It has been variously spelt. For instance: Meyer Baer; Meyer Liebman Beer; Meyer Beer; Jacob Meyerbeer;

MAD. STUTTAFORD.-The Sydney papers speak in high terms of this lady, who was performing with Sig. Bianchi's Operatic Company at the Lyceum Theatre. "Mad. Stuttaford," writes the Bendigo Advertiser, "appeared as Amina in La Sonnambula, and achieved a triumph by her pure and delicate rendering of some of the choicest morceaux of this, the most refreshing and original opera of the present age. In the solos 'Whilst this heart its joy revealing,' and the celebrated 'Do not mingle,' as well as in the duet with Elvino (Signor Bianchi), 'Take now this ring,' she gave as ample proof of the flexibility and natural richness of her voice, as of the soundness of her musical knowledge and proficiency."

SOCIETY FOR THE ENCOURAGEMENT OF THE FINE ARTS.-The fourth conversazione of the season took place on Wednesday evening, at the gallery of the Society of British Artists, in Suffolk Street, and was more numerously attended than any preceding meeting, the rooms, lighted with gas, and adorned with pictures, presenting an attractive appearance. The musical entertainment provided by Mr. Alfred Gilbert, who conducted, was of unusual attractiveness and excellence, including the services kindly volunteered of Mad. Gilbert, Miss Van Noorden, Mad. Lemaire, Miss Anna Whitty, Miss S. Cole, Miss Bellingham, Mile. Titiens, Herr Reichardt, Mr. Sweeting, and Herr Formes; Mr. Swensden (flute), Messrs. A. and H. Holmes (violin), and Miss Cecilia Summerhayes (pianoforte), and a most agreeable evening was the result.

MR. AND MRS. CHARLES MATHEWS AT HOME.-The new entertainment provided by Mr. Charles Mathews, and now given nightly in the Bijou Theatre in the Old Opera House, has been written by Mr. H. J. Byron, and is in two parts, the first called My Wife and I, and the second The Sensation" Fork! or, The Maiden, the Maniac, and the Midnight Murderers. Mr. Byron adheres to his burlesque predilections, and fills his two parts, or pieces, with puns of all kinds, good, bad and indifferent. The peculiarity of My Wife and I consists in the variety of characters sustained, and the quaint changes of costume. The "Sensation" Fork is pure extravaganza, but so well is it acted by Mr. and Mrs. Mathews, as to resolve itself into an eminent success. To see Mr. Charles Mathews as the bandit Stickitinhisgizzardi in the plenitude of his robber costume, and to behold him take "sensation heads" into the torrent, when he is driven mad by the base accusation of stealing a silver fork, is enough to create laughter under the ribs of death. Whoever is desirous of obtaining a new sensation-provided he has seen Lord Dundreary a dozen times or so- should incontinently pay a visit to the Bijou Theatre at Her Majesty's, and see Mr. and Mrs. Charles Mathews in The "Sensation" Fork.

POLYTECHNIC INSTITUTION.-Under the skilful and energetic management of Professor Pepper, this excellent institution is now conducted in a manner equally creditable to the director and advantageous to the public. It is now at once a pleasant place of recreation and a valuable educational establishment; and what greatly adds both to its merit and its attractiveness is, that its sphere of usefulness is from time to time increased by the introduction of lectures, exhibitions, models and panoramic views relating to topics of fresh and contemporaneous interest. The latest, and not the least valuable, addition of this description is a panorama painted in oil on 9,000 feet of canvas, and showing the temples, streets, bridges, public institutions, rivers, mountains, and general scenery of the Japanese empire. This unique panorama is said to have been painted secretly by native artists, who would, if discovered, have incurred the penalty of death.

"CATCHING A HUSBAND."-A new Operetta under the above title has been produced with success at The New Royalty Theatre, under the direction of the Veteran Ben Barnett. The singers are Miss Mira Stanley; Mad. Juanita Garcia; Mr. Walter Bolton, and Mr. G. Addison, who all acquit themselves to the evident satisfaction of the audience. The music is light and pretty, and is the work of a young composer, M. Procida Bucalossi, who has hitherto been known only as a composer of dance music.

EFFECTS OF MUSIC ON THE MIND DISEASED. - The influence of David's harp-playing upon Saul is the next event recorded in the Holy Writ. Similar effects have been produced thousands of times since those days, and I hold it to be one of the noblest and most humane uses to which music can be put, to restore peace and comfort to those unhappy mortals whose mind has wandered from its lofty seat.-Mr. John Towers on Military Music.

To commence each day at 3 o'clock precisely.

The programmes will, as in 1861, be exclusively devoted to the Sonatas composed by Beethoven, for Pianoforte without accompaniment - the whole to be introduced in regular succession, according to the original order of their publication, for which the numbered Operas" respectively assigned to them are warrants. The universal popularity of these works in England, as elsewhere, and their admitted superiority to all other compositions of the class to which they belong, support Mr. Hallé in the belief that such an uninterrupted presentation of the entire series may elicit the attention both of students and of connoisseurs. Many of the Sonatas, never having been publicly performed until his "Recitals," in 1861, though familiar to professors, are unknown to the majority of amateurs; and some of these are quite as worthy admiration as others, which, owing to their frequent appearance in concert programmes, have obtained unanimous acceptance.

In exemplification of the gradual advance of their composer's talent, from its early stages to its ripe maturity, the Pianoforte Sonatas of Beethoven may be consulted with no less advantage than the Quartets or the Orchestral Symphonies. They begin at the commencement of his " First" manner, play a very conspicuous part in his "Second," and extend far into the meridian of his "Third." No less than thirty-two in number*, there are enough of them to illustrate, more or less pointedly, every phase of the great musician's artistic progress; and, if merely regarded as a series of compositions for a single instrument, in variety, beauty, and originality, they stand wholly unparalleled.

At each of the eight performances two vocal pieces will be introduced. The programmes will contain descriptions, historical and analytical, of the Sonatas as they occur, the object aimed at in these descriptions being not so much to guide the taste as to assist the appreciation of the audience.

Prices of Admission: Sofa Stalls, Numbered and Reserved, for the 'Series, £2 2s., Single Tickets, 10s. 6d.; Balcony, for the Series, £1 11s. 6d., Single Tickets, 7s.; Subscribers wishing to retain the same Sofa Stalls for this Series which they occupied

Unreserved Seats, for the Series, £1, Single Tickets, 3s.

last Season, are requested to inform Messrs. Chappell & Co. of their intention on or before May 1.

Subscriptions received at Chappell & Co.'s, 50 New Bond Street; and at Mr. Charles

Hallé's, 8 Mansfield Street, Portland Place.

THE FIRST CONCERT will take place on Friday Afternoon, May 23, to commence at 3 o'clock precisely.

Programme: Sonata, Op. 2, No. 1, Beethoven. Song, "Zuleika," Mendelssohn. Sonata, Op. 2, No. 2, Beethoven. (Interval of ten minutes.) Sonata, Op. 2, No. 3, Beethoven. Song, "The Secret," Schubert. Grand Sonata, Op. 7, Beethoven. Pianoforte, Mr. CHARLES HALLE; Vocalist, Miss BANKS; Accompanyist, Mr. HAROLD THOMAS.

MONDAYTROP Uce on Monday Evening, June 2, at St. James' Hax The next

Pianoforte, Herr PAUER; Violin, Herr LAUB (his first appearance this season); Violoncello, Signor PIATTI.

Vocalists, Miss BANKS and Mr. SIMS REEVES. Conductor, Mr. BENEDICT.
For full particulars see programme.

A N enterprising London firm is preparing, we understand, a complete edition of the pianoforte sonatas of Mozart, edited by Mr. Charles Hallé. If this be true, let us hope that Mr. Hallé will carefully separate the Sonata in C minor and the Fantasia in the same key, which have hitherto, in every edition we have seen, been carefully put together, as though they formed a single work, whereas they have really no connection with each other. They are not merely complete in themselves, but were even composed in different years.

If any one particular composition of Mozart, for pianoforte without accompaniment, may be singled out as a quasiprophecy of Beethoven, it is probably the Sonata in C minor, composed in October, 1784. In the first and last movement especially we find indications of what Beethoven at first-no doubt unconsciously-in a great measure appropriated, and subsequently elaborated and developed with that wonderful richness of imagination which has placed him at the head of all composers for instruments. The slow movement, however, is Mozart pure-untouched, unapproached, and inimitable, whether the unimpeded flow and

Bond Street.

TO CORRESPONDENTS.

DILETTANTE.—Sig. Galvani has sung in England, as the subjoined article, which appeared in the Times the day following his début, will show:

"In consequence of the indisposition of M. Tamberlik, the opera of I Martiri, which

Sig. Galvani, a new vocalist from the Theatro della Scala, at Milan, in the character of

was to have been produced on Saturday, was postponed, and La Sonnambula was played in its stead. The only novelty connected with this production was the début of Elvino. He is a singer of that modern school which religiously eschews all ornament, and his voice, which comes entirely from the chest, is not without sweetness, though evident labour is required to produce the higher notes. The usual honour of a call was awarded him, but we can hardly suppose that Elvino is to be taken as an earnest of his future position. In a character which is remarkable for its great opportunities for passionate display, and which has so often been illustrated by the most eloquent singing and acting, he failed to rouse himself even for an instant into a burst of genuine emotion, and left the sympathies completely untouched. Rarely, we suppose, has Tutto e sciolto,' that poignant expression of amatory despair, been sung with equal coldness. And yet there were signs of intention about Sig. Galvani. Every now and then he seemed preparing for an outbreak, but the spirit did not obey the call, and the part rolled on in monotonous respectability. That, as a good steady vocalist, he may be useful in the second rank, is probable enough; but he has not the qualities which entitle an artist to take the lead in a grand operatic establishment. Mad. Castellan's Amina is so well known that we need only say that it is still marked by that sweetness, that delicacy of execution, and that artless modesty of deportment which have so often fascinated the London public."

same time unaffected grace of its expression, are taken into consideration. Nothing is known of the Fantasia in the same key, except that it was written in May, 1785. It might be imagined just the sort of thing Mozart would have improvised. Notwithstanding its peculiar form (or want of form), few of Mozart's compositions are more crowded with beautiful melodies, happy surprises, rich and ingenious combinations of harmony. Mr. Macfarren, in a very interesting essay upon Mozart and his works (published in the MUSICAL WORLD, 1849), seems, like the rest of the world, to connect the Fantasia and Sonata in C minor as one work.

"Great

as is the merit," says the distinguished composer and critic, "of his (Mozart's) many pianoforte works, his solo Fantasia and Sonata in C minor will ever stand out, even from among them, as a composition of singular power; and it is remarkable as containing-most particularly in the last movement- -a complete prototype of the peculiar style which modern critics distinguish as Beethovenish, and which in the

middle works of the great author of Fidelio is recognised as his most salient characteristic."

Both Sonata and Fantasia are to be found in the catalogue, drawn up in Mozart's own handwriting, of works composed between February 9, 1784, and November 15, 1791, and published by J. André, of Offenbach on the Maine. The 145 compositions, great and small, produced during that interval, however, do not represent all the labour of Mozart in those fertile years; for, without reckoning the many pieces he gave away, and of which he kept no copies, the Requiem, and in all probability the two masses in C major (published by Breitkopf and Härtel, as Nos. 1 and 2), belong to the same period. Among the most extended compositions for the pianoforte without accompaniments, and those through which, as it has been hinted, he may be said to have foreshadowed the marvellous labours of Beethoven in the same direction, are the sonatas in A minor (not in the catalogue), C minor (October, 1784), F major (January 1788), in B flat (February 1789), D major (July 1789), &c. The prefer ence of Mozart, however, was for the pianoforte with or chestral accompaniments, or in conjunction with other instruments, obbligati, in the various forms of chamber music. This is shown by the small number of important and extended works which he has left for the instrument solus, when compared with the vast number of his concertos, &c. The sonatas above specified, however, besides some half-dozen others, and among the rest those introduced by Miss Arabella Goddard and Mr. Charles Hallé at the Monday Popular Concerts, triumphantly prove that inclination in one way, not inability in the other, led to this disparity.

A

CORRESPONDENT wishes us to tell him something about Cherubini, and something about Cherubini's conduct to Beethoven on a certain occasion which has been frequently discussed.

Cherubini, then, one of the greatest and most justly renowned of musical composers, was born at Florence, September 8, 1760, and died in 1843, at Paris, where he was successor to Paer, and predecessor of Auber, as Director of the Conservatoire. The following account of his studies is affixed, in his own hand-writing, to the catalogue of his works:

"I began to learn music at the age of six, and composition at nine; the elements being taught me by Bartolomeo Cherubini, professor of music-my father. My first two instructors in composition were Bartolomeo Felici, and Alessandro Felici, his son. About the year 1777 or 1778 I obtained a pension from the Grand Duke Leopold, to continue my studies, and to perfect myself with the celebrated Giuseppe Sarti, under whom I worked for three or four years. It was by the counsels and the le sons of this great master that I acquired my knowledge of counterpoint and dramatic music. As an exercise to me, and to assist him in his labours, he made me sit by him and compose all the airs of the secondary characters of his operas. These pieces, which did not appear under my name, and none of which I possess, are not included in the present catalogue, but are to be found in the various scores of my

master."

Cherubini excelled equally as a composer for the church and the theatre. He wrote more than thirty operas, and several masses, which may rank with any similar productions. When Faniska was produced at Vienna (1805), Haydn and Beethoven simultaneously proclaimed the author of that work the greatest dramatic composer of his time. The Deux Journées, as a comic opera, stands nearer to Mozart than anything else of its class. Beethoven's high opinion of Cherubini was often expressed; and it is gratifying to know that the letter written by the composer of Fidelio

about the Missa Solennis, No. 2, and to which no answer arrived, actually never reached the hands of Cherubini, who was not aware of its existence till after Beethoven's death.

The three quartets, which have all been played at the Monday Popular Concerts, with the exception of a sonata for two organs, six solo sonatas, and a fantasia for the pianoforte, constitute all the chamber music from the pen of this great musician which has hitherto come to light. Much more, however, is supposed to exist in manuscript.

Of the four instrumental works, three were new to the audience, and each of them is an instance from a field as

yet but little laboured in by managers of concerts. The riod will not need commendation or affirmation on our parts, strength and majesty of Beethoven's second or middle peand that the Quartet in F is one of the best representatives of that class, no one who listened to the playing of Joachim, Ries, Schreurs and Piatti, on Monday last, will deny. The third movement, Adagio molto, in F minor, is intensely melodious and beautiful, and leads to the Finale Allegro (in F major), of which the principal subject is a Russian air, and, like most music of real Muscovite origin, plaintive and expressive in the extreme.

The concerto (why not sonata?) for pianoforte solo of Bach was most welcome. The works of the illustrious Cantor of Leipzig are gradually making the English people believe in their author, although he was a sealed book to them for so many years. If music is to be regarded as a science as well as an art, those writers whose effects are due to contrapuntal achievements, to the glorious fugue in its many varieties, and to "imitation" of the most correct sort, will never cease to gain popularity. But to all listeners to music, we may confidently say that Bach's works will repay attention to any amount. Mechanical construction and fugal imitation were the forms in which music lived among men in his days; and Bach being the greatest musician of his age, of course excelled in these more than any of his contemporaries. But he did more-and therein he proved the greatness of his genius far more effectually than if he had wantonly transgressed the rules of his art he obeyed the law to the letter, and yet transfused into every bar such spirit, grace, tenderness, beauty, majesty, and strength, as have only been equalled since by that great composer who is his one rival, and whose forms of art were yet strange as it may seemmost strikingly at variance with his own. "That the

talented author of the preface to the book of words, "Grosse Passions-Musik," 1858, from which the above sentences are quoted, has taken the only right view of the question, I am well assured. The specimen of last Monday (in the Italian style, says Bach himself) has more of the nature of a fantasia in it than the students of Beethoven's and Mozart's sonatas are accustomed to; but sonata, fantasia, or concerto, there is an infinity of beauty in it. The themes are elaborated with skill unknown up to Badistime, and unsurpassed since, and the science of the harmonist is everywhere accessory to the highest expression. It was played by Herr Ernst Pauer, his first appearance at these concerts. Mr. Arthur Chappell's patrons are so accustomed to the greatest excellence in pianoforte playing, and criticise it to such a degree, that Herr Pauer must take my candour in no unfriendly spirit, when I say that his performance of the third movement of the sonata was far better than that of the two preceding ones, which was hard and unsympathetic, albeit perfectly correct. He seemed to warm to the Presto giojoso; and indeed the musician who would not warm to it must be a very block. The violin fugue was, of course, played by Herr Joachim with all his surprising execution of difficulties and ravishing expression. What Bach has done by making science a medium for the exhibition of beautiful ideas in composition, that does Herr Joachim (and one other great executant, on another instrument) in performance. Indeed, to complete the idea, Bach should have lived another century, and heard Joachim and Arabella Goddard. The violin solo was vociferously encored, and the player responded with a "Gavotte," very similar to that played so frequently and so well by Sig. Piatti.

The trio of Schubert must be heard again for many reasons, the chief of which is that the beauty of it is by no means all on the surface, and also because so excellent a work ought to be thoroughly well known. The Scherzo in B flat is really a delicious passage.

The vocal music was sung by Miss Louisa Vinning and Mr. Santley. The duet from Faust was welcome, as an excerpt from an opera that ought to be performed entire again, and the song "T'amo" of Mr. Benedict is beautiful in the extreme. It was delivered by Mr. Santley with the wonderful ease and grace, and the fresh voice from the bottom of the chest, which are carrying that gentleman's fame all over the kingdom. Miss Louisa Vinning spoilt Mr. Osborne's pretty song with too much gesticulation. The composer of the "Pluie des Perles" needs no aids to fame but strictly musical ones.

SIR,

N.

To the Editor of the MUSICAL WORLD. IR,-I do not question for a moment that all your readers approve the terms of indignation which the conduct of the Commissioners of the Exhibition towards Sig. Verdi drew forth in a recent "leader." Every musician with whom I have conversed on the subject speaks of this behaviour as neither more nor less than a deliberate insult. For which of his great works was Verdi treated with this contumely? Had the rejection anything to do with Rossini's refusal of the invitation of the Commissioners to write a March for the occasion? Or is there any latent significance in the act? The question of time for the study of the Cantata was simply ridiculous. On the supposition that Auber's composition had not been sent early, would it have been rejected? There is such a man as the Emperor of the

French, and the question whether he would have approved of the non-acceptance would have been considered." But Verdi's case is different: how different everyone knows. It is not necessary to insist that the Commissioners are neither the delegates nor the representatives of the musicians of this country; but it is right that Verdi should be made aware that they are neither the one nor the other. English musicians sympathise with the composer of Il Trovatore, and feel on the subject as if the insult had been offered to themselves.

Now it occurs to me that it is not a very difficult thing for us to prove to Verdi our sense of the conduct of the Commissioners in this respect. There is a Society called the Musical Society of London. At its concerts are present some fifteen hundred musicians. It has yet to give for the present season a concert and a conversazione. Might not the Cantata be performed at one of these, the renowned composer being invited to attend? and could we not then demonstrate to Verdi our estimate of him, and contrast that with our estimate of the conduct of the Commissioners? Or perhaps it would be better even to have a special performance before the members of the Society, having the same object in view. I offer this suggestion as being worthy the immediate attention of our Council, for I doubt not the members of the Society generally feel as I do respecting the harsh manner in which the Commissioners have acted towards Verdi, in return for his honourable response to their invitation. MUSICUS. May 5, 1862.

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To the Editor of the MUSICAL World. IR,-The musical public, pianists especially, will hail with pleasure the return of M. Thalberg to London. Unfortunately, as present arrangements exist, the only people who will have the advantage of hearing his wonderful playing are a very select few. He announces four matinées, but the prices of admission are so high (one guinea, and a half guinea, the latter being the lowest price), that the general public would be entirely debarred from attending them. I must not be understood to say, that to hear that eminent virtuoso is not worth the price he asks-it is to those whe can afford it; but what can those people do to hear him who can not afford it? The English public have, through the Monday Popular and other Concerts, heard other great artists at prices as low as one shilling Arabella Goddard, Charles Hallé, on the pianoforte; Vieuxtemps, Sainton, Wieniawski and Joachim, on the violin; Piatti, Paque, and numerous others on various instruments, besides the most eminent English and Foreign vocalists, have been heard by thousands at the price I have just mentioned. Then why does not M. Sigismond Thalberg introduce some lower prices at his matinées? One cannot help thinking that they are given exclusively to the aristocracy. If the public cannot be admitted to these four concerts, I hope M. Thalberg will give them the opportunity of hearing him elsewhere. I am sure he will find amongst them his most ardent admirers, who would appreciate his magnificent pianoforte playing, and would give him, not a cold, but an enthusiastic reception. I hope that my letter will attract the attention of M. Thalberg, and if you will kindly find a place for it in the MUSICAL WORLD, I should feel greatly obliged. A PIANIST.

M. MEYERBEER left London for Berlin viâ Calais, on Tuesday evening.