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but I translate from a German version which has appeared in one of the Berlin paper" —

"There is not," says the witty and caustic critic, "a more disagreeable, and, at the same time, a more absurd practice than that of encoring a piece in an opera. Can the audience expect more from a piece, when repeated, than when it was sung the first time? Wo will suppose, for the sake of argument, that such an expectation is realised, although it is evident that it is almost impossible. The pleasure afforded, is no. longer the same, and this for two reasons: in the first place, we miss that considerable part of our first impression which resulted from surprise and novelty; and, in the second, those effects which previously appeared to proceed direct from the singer's very soul, will, if perfectly identical on their repetition, strike every one as the result of art alone. Let us now speak of the artist. Carried away by the dramatic situation, he may, at first, forget nis'own individuality, and fancy himself really William Tell or Raoul. When called upon to repeat his effort, he does so, it is true j but he is virtually then Duprez or Tamberlik, and perfectly well aware he is singing before an audience.

"Besides, we beg to ask whether we, who call out so lustily 'da capo,' know how often a great artist exerts the whole power of his soul in one evening. Do we know how frequently, after the conclusion of the per. formance, he sinks down totally exhausted by the extraordinary wear and tear of his nerves? An artist often husbands his resources during an entire act for a single piece, or during an entire piece for a single note—a sufficient proof that he is required to make an extraordinary effort, which he should not be called on to repeat; if he is tired, he will evidently not sing as well the second time as the first; while, if gifted with a vigorous constitution, or sufficiently excited and strengthened by the applause, he will try to do better than he has done, and— overshoot the mark."

Oh! ye, who think ye ought always to have the worth of a pound for your trumpery shilling; who imagine that ye may ruin the lungs of a Sims Reeves, or wear the magic fingers of an Arabella Goddard to the bone, for a fifth or sixth of the price you'paid for your bouquet, or gave for the Hansom cab that brought you to the concert-room, ponder well on the above lines; turn them over in your greedy, rapacious, and inconsiderate little minds; treasure them up in your higgling hearts, and never, for the future, endeavour to extort more than the fair amount of pleasure to which you are entitled from the first of English tenors or the fair queen of all the enchantresses who ever transformed an instrument of wood and iron into a living thing, discoursing sweet music which reaches the inmost heart of the veriest clod.

J. V. B.

June 3, 1862.

Sio. Verdi, after passing several days in Paris, left on Monday for Turin.

Paris. — Auber's Masaniello is in rehearsal at the Grand Opera. It is to be revived with great splendour.

Mad. Anna Lagrange. — The death of her husband has induced this popular singer to throw up her engagement at Madrid and return to Paris.

Robert De Picardie. — At the Apollo Theatre in Rome, Meyerbeer's Robert le Diable is being performed under the title of Robert of Picardy—the "Devil" not being allowed to figure in the bills of the theatres of that Pope-smitten city.

M. Femcibn David. — The new work of this composer — Lalla Roolth (or "Roukh") —though reported as a failure, is still " running" at the Grand Opera in Paris. ,

Japanese Ehbasst.—The principal members of the embassy paid n visit recently to the studio of Mr. Davies, 35 liruton Street, and were successfully photographed by that gentleman.

Handel Festival.(Communicated.)—The great full rehearsal at the Crystal Palace, under Mr. Costa, will take place on Saturday, June 21, commencing at eleven o'clock. The choruses in the first part of the rehearsal will comprise those known as single choruses; the second part (which is expected to commence about two o'clock) will consist of double choruses from Deborah, Solomon, and Israel in Egypt. The list of principal vocalists engaged for this Festival is unusually strong, including the names of Mile. Titiens, Mad. Rudersdorff, Mad. Lemmens-Sherrington and Miss Parcpa, Mad. Sainton-Dolby, Mr. Sims

Reeves, Mr? Weiss, Mr. Santley, and Sig. Belletti. They will all take part on the great rehearsal day. Several acoustical experiments have lately been made to test the effect of the new roof thrown over the orchestra. These have been attended with marked success. Single voices and instruments have been heard at the extreme end of the central transept with as much distinctness as in a small concert-room. The increase of power in the tones of the great organ, with its additional thirty-two feet pedal pipes, is astonishing, and justifies the most sanguine anticipation's. A large number of applications for tickets have been forwarded during the last few days from the Continent, and from various parts of the country, by persons coming to London for the Agricultural Show, who also intend availing themselves of the opportunity to attend the Festival. On the day of the rehearsal the doors of the Palace will be opened at nine in the morning. The great fountains will be played one hour after tho conclusion of the rehearsal. It can be scarcely requisite to remind visitors from the country of the necessity of securing tickets previously to their arrival in town.

THE THIRTY-NINTH MUSICAL FESTIVAL OF THE LOWER RHINE.*

For the eleventh time since the foundation of our Musical Festivals, Cologne has assembled within its walls the representatives of musical art from the Rhenish provinces, and a host of sympathetic admirers from far and near, for the purpose of celebrating Whitsuntide. Since the revival of the Festival in 1851, the number of those announcing their intention of taking part in the chorus was never so great, but, at the same time, never was the architectural arrangement of the platform in the Gurzenich Saal so grandiose, judicious and magnificent. The mere spectacle of the chorus, more numerous than on any previous occasion, of the orchestra drawn up on the rising stage which occupies the entire breadth of the hall, and of the organ towering at the back above everything else, will produce an imposing and astounding impression. When, however, the full tones of the organ swell forth, to judge from the wonderful results obtained at the rehearsal of the 25th May, with that portion of the instrument already erected, we can assure our readers that such a musical effect will never have been heard in any concertroom in Germany, or even on the whole continent. Added to this, there will be an orchestra which we may regard as the impersonification of progress in instrumental music, so that the performances of this year's Festival will hold the same relation to our Winter Concerts that the heaving ocean holds to the inland lake, or the rustling forest to the quiet grove.

In consequence of such resources, the performance of the oratorio on the first day of the Festival will be remarkable for a brilliancy and especial character hitherto unknown, and will mark an epoch in the history of Rhenish Musical Festivals, already so rich in splendid reminiscences. In addition to all this, it must be borne in mind that scarcely any work of Handel combines what is grandiose with what is pleasing, what is powerfully imposing with what is charmingly graceful, in the same degree as his oratorio of Solomon. The admirer of the noblest kind of vocal music requires, of course, no recommendation of a work by Handel. With regard, however, to the prejudice of many sincere lovers of art, who, while allowing the indisputable beauties of oratorio, object to its peculiar, and, as they say, antiquated and too learned forms, we will merely observe that Solomon is precisely' that oratorio of Handel's, which, by the varied character of its strains, makes the greatest concession to elevated popular taste. There is very little action, but, on that account, more music, as music only. In many oratorios, we sometimes get rather tired, it is true, of the oft-repeated battle-songs of the Heathens and the Israelites, as well as of the heroes' airs, &C.; in Solomon, however, Handel gives battle to Philistines of quite a different description, namely against those who are generally insensible to the powers of art, aid, by magnificent and charming tone-creations, he enlists them on his side. In no other work does his grand style in the fugucd development of the choruses appear more simple and more intelligible than in this one, although it is nearly always written for eight parts, and consequently is of powerful effect, especially in the first three choruses of the First Part, the first chorus of the second, the warlike and the concluding chorus of the third. Then listen, on the other hand, to the gentle charm of the choral strains: "Es 'nnhe der Stiitte kein 6tbrondcr Hauch, ihr Nachtigallcn wiegt zum Schlummcr sio ein," "Wohllaut tone durch den Raum," "Singt der Licbo Lcid und Schmerz," &c, the melody of which wafts past us like the mild air of Italy.

The solo airs again are not overloaded with the bravura ornamentation of the time; they are more the characteristically melodious cxpres

* From the Niederrheinische Munikzcitung,

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sion of feeling, which reaches the highest truthfulness in the scene where Solomon decides the dispute of the two mothers for the child. These airs, too, have invariably a gentle organ accompaniment.

When wc recollect, moreover, that by the approaching performance a tribute will also be paid to Felix Mendelssohn and his great exertions for our Festivals—since it was he who composed the organ part, in the spirit of Handel, for the performance of Solomon in the year 1835, at Cologne — all the admirers in the entire province of this gifted composer, who died, alas! too soon, and especially our fellow-townsmen, will hasten to pay a debt of honour due to him, and hear a production of his pen, which is not published and which can be heard only here.

The programme of the second day speaks for itself through the names of Johnnn Sebastian Bach, tho Chevalier Gluck, and Ludwig van Beethoven. While the first two — the one by the heavenwards-rising polyphony of his sacred strains, and the other by his plastic dramatic excellence — appear before us as heroic forms of the last century, whom wc cannot avoid admiring, the third flings open the gates of a new century of humanity, and the magic of his fancy displays to us the " enfettered millions," who, oppressed by their labour and their conflict with fate, after suffering and woe, render the glowing thanks-offering of joy to the Creator. How the Rhenish Choral Associations sing the Ninth Symphony is universally known; but it is seldom that their singing is supported by such a host of instrumentalists as it will be on the present occasion, and it is stiil more seldom that they possess such a soloquartet, in volume and precision so equal to themselves, as they will possess in Mad. Dustninnn-Mcyer, Mile. Schreck, Hcrren Schnorr von Carolsft-ld and Karl Hill, these artists being distinguished for that equality of voice which we so often miss, and for that musical certainty which is necessary for the successful execution of their difficult task. When wc think of so perfect an ensemble conducted by Ferdinand Hiller, who probably, at the present day, is more thoroughly inspired than any one else with the spirit of Beethoven, we arc justilicd in looking forward to a grand glorification of Beethoven's genius.

For the first time at a Musical Festival, we shall have, of Gluck, a scries of scenes from Iphigenic in Aulis, the opera with which Gluck laid the foundations, at Paris, in 1774, of his world-wide reputation. While Mile. Schreck will shine as mistress of oratorio singing in Solomon, Mad. Dustmann, Hcrren Schnorr von Carol6feld and Karl Becker—Iphigenia, Achilles and Agamemnon—will vie with each other in giving a perfect representation of their highly characteristic parts.

Such is what we have to expect from the first two days of our Musical Festival for the present year.

To this we must add the concei t on the third day. It is the first time, if we are not mistaken, that a symphony by Haydn adorns the programme of the Festival, and, on this account, it will be the more welcome to all those who admire the ever-youthful muse of the Father of the symphony. The determination to give, with the nflmirable Orchestral Association, a symphony on the third day, is one that no one can fail to praise, for there is not the slightest doubt that, during the last ten years, the orchestral performances at our Festivals have reached a degree of excellence which is in keeping with the constantly increasing taste of the public for symphonic performances, a taste it will satisfy in the most brilliant manner. Besides the solo artists whom wc have already mentioned, Herr Ferdinand Hiller—who, by the way, will introduco to us a new vocal work, a hymn by M. Hartmnnn, "Die Nacht," for solos, chorus and orchestra, which, from what we have beard at the rehearsals, is, wc should say, calculated to produce a deep impression — has consented to appear once more before a large auditory as a pianist, and perform a Concerto by Mozart. Whoever is not yet acquainted with the unrivalled, highly artistic, and, at the same time, technically perfect manner in which Hiller is accustomed to play such real gems, will enjoy such a treat as he can enjoy nowhere else, while whoever is already aware what Herr Hiller's playing is, will bo delighted at the pleasure in store for him.

Considering what the lovers of art may fairly expect from our Thirtyninth Festival, there can be no doubt that an exceedingly numerous attendance on the part of the public will cause that Festival to redound to the glory of musical art on the banks of the Rhine.

THE LATE MR. GEORGE PERRY.

(from the "Norfolk Actcs" of Saturday, April 19, 1862.)

This excellent musician and able composer died on Shrove Tuesday (March 4th), in the 69th year of his age. As he was a native of Norwich, we trust it will gratify the musical readers of this journal to be presented with a few authentic particulars concerning him. For these we aro mainly indebted to Professor Taylor and to Mr. Surman, of London. On writing to Mr. Taylor requesting such information of

Perry's early life, as we knew could be obtained from no other source, we were favoured with so admirable an account, that, in justice to the Professor, wc shall give it in his own words:—

"Although," says Mr. Taylor, "writing is now 'toil and trouble' to me, I will endeavour to comply with your request. George Perry's father was a turner in St. Gregory's; he used to sing bass at the yearly oratorio, and thus became known to Dr. Beckwith, who introduced his son into the Cathedral choir. Vnughan was then about to quit it. He (Perry) had a very powerful but not a fine voice, and was chiefly remarkable for his quickness in learning, and for the pleasure he evidently took in singing. This was so apparent, that my brother-in-law, Dr. Henry Reeve, enquired the name of 'that boy who always appeared to sing with all his heart and soul?' 'Sir,' replied Dr. Beckwith, 'that boy, Perry, is brimful of music; if you were to prick him with a pin music would run out.' He ntfvcr was articled to Dr. Beckwith, but when he left the Cathedral, he was taught to play the violin by Joseph Pnrnell (who was then one of the lay clerks), and the pianoforte by his son John. Where he acquired his knowledge of harmony I know not, but I suspect from Bond, who was a pupil of Jackson, of Exeter, and who was afterwards Mr. Garland's deputy, Garland having been a pupil of Dr. Greene. Perry used to play the violin at the Hall Concert, but he had nothing to do with its management, for he was not even a member of the society. It was at this time, to my surprise, that he brought me the full score of his oratorio, The Death of Abel, the words of which were written by George Bennett, of the Norwich Theatre. This was performed at one of the Hall Concerts. On the resignation of Binfield, Perry succeeded him as leader of the baud at the Theatre. While holding this situation, he composed his oratorio Elijah and the Priests of Haul, the words of which were written by the Rev. J. Plumptre. It was performed March 12, 1819, at the Concert Room, St. George's Bridge. He then requested mc to select for him the words for another oratorio, which I did from Millman's Fall of Jerusalem. It was not published till 1834, when Perry had been appointed composer to the Haymarkct Theatre, and organist of Quebec Chapei, about the ycur 1822. My removal to London very soon followed, and from that time we very rarely met."

The above narrative contains, perhaps, nearly all that is now remembered of Perry's Norwich life. We know no more than Professor Taylor docs where Perry learned the rudiments of harmony, but he was indebted to the late Mr. James Taylor for his knowledge of fugue. After a performance of one of Perry's oratorios (wo believe The Death of Abel% Taylor was complimenting him upon the merits of the work, at the same time adding that "the choruses would have been none the worso for a little fugue." To this Perry assented, and honestly confessed that "Fuguo it should have had, if he had known how to write it." Taylor then delicately hinted that "if he would accept a few friendly lessons, he should have much pleasure in giving them." This offer was gratefully received and the lessons immediately commenced. Wc have frequently heard James Taylor express his astonishment at Perry's aptitude for receiving instruction. A few days after the very first lesson, Perry brought his master one of the choruses rewritten, and the subject fugually treated. "Ah," said Taylor, "If I had expected this, I would have given you a little more of it." Taylor would often say, "It was a pleasure to teach a man like Perry ; a hint was enough j Sir, he always anticipated what I had to tell him." We have the samo authority for giving a curious instance of Perry's facility in composition. He would occasionally be writing four songs at once; not indeed, designedly, but to save himself time nnd trouble. Being too careless to provide blotting paper, and too impatient to wait till his ink was dry, he would place four sheets of music paper at the four sides of his table. On the sheet that chanced to be nearest him, he would write a page of song No. 1. This being done, he would begin song No. 2, on the next sheet, and having reached the bottom of the page, he would commence No. 3, and then No. 4, in like manner; so that by the time he again arrived at tho first sheet, the ink would be dry and he would turn over and go on with that song, continuing to write till tho four songs were all committed to paper. It is possible that the beautiful air, "See. Rosa, this flowe»," may have been one of the melodies produced in this way.

If Dr. Beckwith regarded Ferry as a boy "brimful of music," Perry, on his part, had a profound veneration for tho doctor. He would say, "Dr. Beckwith is none of your little dogs: no, no, Sir; the doctor is a great man, he has a grand outline." We remember to have once seen Mr. Perry lead at a concert in the Bridge-street Room, though wc forget how it came about. It was in the days of knee-breeches — in the days, too, when the leader was the sole conductor. It being an amateur band, he could not keep them together to his satisfaction with his bow, and therefore stamped with such vehemence, that at last his stocking broke from its moorings, and slowly descended to the middle of his leg. Of course, tho ladies tittered, as ladies will titter; but all this was nothing to Perry, whose heart and soul were so wholly in his work, that he was blessedly unconscious alike of tho cause and tho result. Mr. Perry's fine chorus, "Give tho Lord," from the oratorio Tlie Death of Abel, which was then unpublished, was performed at the first Norwich Triennial Musical Festival, in 1824, tho composer himself conducting it; Sir George Smart having, with gentleman-like feeling, resigned him

principal parts. It was next done by tho Cecilian Society, and again (being the third time) by tho Sacred Harmonic Society. "Portions of each of the above Oratorios were introduced with great success at the Worcester Festival in 1842.

Perry was tho leader of a party who met in Mr. Armstrong's School Room, in the Borough; and here it was that he used to got his oratorios rehearsed. He also had an offer of the post of leader to tho Choral

the baton for that purpose. Somewhere about the year 1822, Perry Harmonic Society; but thongh he required only five shillings per night went up to town, having accepted an invitation to undertake the duties 1 for his services, so low were the society's funds, that his terms were not

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of composer and director of the music at the Haymarket Theatre, of which Mr. Morris was then proprietor. Whilst Mr. Perry occupied this post, he composed his celebrated opera, Morning, Koon, and Night, and several others. It was the custom then, as indeed it is now, for tho singers to interlard an Jopcra with some of the popular songs of tho day. Oue morning it happened that a parcel of such songs was brought to Mr. Perry, for Mad. Vcstris, who was then prima donna, to try over.

Thnw l*nrt *liv,.nrrl. nnn nffrn* n,in,tint* frill frl.a.r nn,v.n frn TI~,...n*„ *1

accepted. At the formation of the Sacred Harmonic Society in 1832, Mr. Surmnn, who filled the double post of conductor and librarian, invited Mr. Perry to come and lead, as tho prospects of the society were favourable. Perry consented; and the members, about sixty in number, continued to meet for the spaco of two years, in Gate Street Chapel, Lincoln's Inn Fields. In those days, tho difficulties with which amateur bodies had to contend were so great, and the pecuniary risk of

They ran through ono after another till they camo to Horns's their \ getting up oratorios was so serious, that the success of this society was,

comparatively unknown song of " Cherry ripo." This air so pleased the lady that she tried it a second time, and then declared, that "if the obtained an encore in it she would make it popular." Mr. Perry had accordingly to arrange it for a full orchestra for performance the same evening. The result was, that it was rapturously encored, and that the publisher (Power) was enabled to sell some thousands of copies. Ilenee its popularity even to the present day.

Successful, however, as Perry undoubtedly was in dramatic composition, the theatre was not his natural clement. He loved tho greatness of the sacred style, and panted to enrol his name with those of the musical benefactors of mankind. Hence tho production and publication, so far as his means would allow, of his oratorios — The Deatli of Abel, The Fall of Jerusalem, Belshazzar's Feast, and Hezckiah; as well as some Anthems for particular occasions. He wrote an anthem in D, "Blessed be the Lord thy God," for tho accession of Queen Victoria, in 1838; "The Thanksgiving Anthem," composed on the occasion of the birth of the Princess Royal, in 1840; a .very spirited work, with a melodious treble solo, which was sung by Mad. Caradori Allan, when this anthem was performed, at the time, by the Sacred Harmonic Society, with an orchestra of five hundred voices and instruments. To these may bo added his own anthem, "I will arise," which was written for the London Choir Association. Not satisfied with the production of these original works, Mr. Perry sought to extend the performance of Handel's Oratorios by writing additional accompaniments to The Dettingen Te Deum and Jubilate, Judas Maccabaus, Samson, Israel in Egypt, Jeptha, Deborah, Joshua, Saul, Solomon, Coronation, and Funeral Anthems, AOialiah, Esther, Belshazzar, Acis and Galatea, and the "Overture" to the Occasional Oratorio. He also arranged for the organ or pianoforte, a folio edition of Deborah, and had commenced Belshazzar and Joshua, with an intontion of completing Dr. Clarke's edition of Handel's works; — "Labours," says Mr. Surman, "which will hand his name down to posterity in black and white, better than any monument of brass or stone." It may not be out of place here to mention the modest manner in which Mr. Perry gave his reasons for writing tho "Additional accompaniments." "It was not," he said, "that Handel's works in their intrinsic substance were capable of improvement," but "that tho score might be enriched by the employment of such instruments as Handel himself, it is to be supposcd,^would have used, had they in his timo attained their present perfection." A recommendation of these "Accompaniments " was signed by more than twenty distinguished instrumental professors, most of whom arc still living.

Yet, valuable as arc Perry's contributions to the church and the concert-room, they might have rotted in his closet (liko Robinson Crusoe's big boat, which the builder had not strength to push into the water), had he not found a coadjutor after his own heart in his friend, Mr. Surman, of Exeter Hall. This gentleman, animated by a kindred zeal for the cause of sacred music, printed most of Perry's works, doubtless at a considerable outlay of capital, with a view to their performance at Festivals and at the concerts of choral societies. He also exerted himself to bring them out in London, which he did with success. As yet (we cannot write it without a tinge of shame), they are least known,.perhaps, in the composer's native city. The Death of Abel was brought out at Weeks' Rooms, in tho Haymarket. It was performed with success by tho Sacred Harmonic Society on the 19th of March, 1841; and again, on the. 17th of May, 1845, the principal vocalists then being Miss Rainforth (a pupil of Perry's), Miss Poole, Mr. Hobbs, Mr. Manvers, Mr. H. Philips, and Herr Staudigl; upon which occasion there were no fewer than six encores. The first performance of his Fall of Jerusalem, in London, was at tho Hanover Square Rooms, where he was assisted by his personal friends; Miss Paton and Mr, Braham being in the number of those who took the

perhaps, almost without precedent. But it was not destined to be long uninterrupted. Some of the managers of the chapel all at once discovered that it was highly improper for young people to meet together there for the practice of sacred music. As there had been no indecorum or misconduct of which these pious people could complain, or to which they could have been indebted for their illumination, they must (like Miss Papford's assistant with "tho true Parisian accent") have been somehow or other "inspired." However, they ejected the society from their chapel, and then the practice meetings were held in Henrietta Street Chapel. Here two performances were given with moderate success, but the attendance at the weekly rehearsals was thin, on account of the inconvenience of the locality. The society was at length reduced to so low an ebb, that not one of the members paid any subscription for an entire quarter. It happened upon one wet night, when Mr. Perry made his appearance, with his violin under his arm, and Mr. Surman arrived with a load of music in his bag, that they found only ono'other member to join them in a rehearsal of Handel's Messiah! Men less determined and less enthusiastic would, at that crisis, have deserted their posts. But, no; they preferred adjourning to a neighbouring tavern, where they drank " success to the society," and seriously bethought them as to what could now be done. Mr. Perry had three miles to walk to his home, but they would not separate till they had resolved upon endeavouring to get twenty members to put down one guinea each for the purpose of carrying on the society's business, at their own risk, in some more central situation. This was eventually done, or there had been an end of the Sacred Harmonic Society.

Mr. Perry continued to lead from the foundation of tho Society in 1832, to 1848—a period of sixteen years, during the whole of which time he was not absent from a single performance, and he missed only one rehearsal. In the year 1848, tho conductor's baton was wrested from Mr. Surman and placed in the hand (we regret to say the not unwilling hand) of Mr. Perry. If his acccptance.of this new position showed a want of right feeling towards the friend to whom he was indebted for his connection with the society, he had soon ample timo for repentance; for, after about half-a-dozen performances, he, too, was in his turn deposed and dismissed. A few of Mr. Perry's friends then tried to support him in some other society, but their efforts wero a failure; and from that time, instead of mingling, as heretofore, with amateurs and professor?, he seemed rather to avoid than to court their company.

Perry enjoyed considerable reputation both as an organist and a3 a teacher. No man could be more indefatigable than ho was in the discharge of his professional duties. He was organist of Quebec Chapel, where he had an excellent choir under his command, for about twenty years. For the last fifteen years of his life ho held the organ at the church in Gray's Inn Lane; and during his possession of both these appointments he was never known to be absent from either church for a singlo Sunday, till the two last previous to his death. His remains were deposited in the Kensal Green Cemetery, on the 11th of March, in the prcsenco of a few of his old associates, for in the musical world his end was scarcely known. In his vocal compositions Mr. Perry affected neither the pedantry of the German, tho frivolity of the French, nor the effeminacy of the Italian school. He was English to the backbone. In writing for the stage he did not always disdain to injure a fine song by giving it a theatrical close. We may instance in tho capital scena, "Mid hidden rocks that) ambushed lay," and doubtless many other instances could be given. His sacred works, especially his oratorios, are founded upon tho model of Handel. In saying this, however, wo would by no means imply that he was a slavish imitator. On the contrary, his subjects wero entirely his own. But he aimed at Handel's simplicity and breadth of style. He never went out of his way for the sake of introducing what Shield calls " fashionable chords."

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His part-writing is clear and intelligible. His harmonies are bold and open ; and his accompaniments are generally kept in due subordination to the voices. Like Handel, he wisely husbanded his means, employing particular instruments for particular effects, and reserving his drums and trumpets for two grand climax. His choral compositions will always be valuable to many amateur societies which may not possess either the means or the capabilities of doing justice to the more elaborate works of Spohr and Mendelssohn. In order that they may be useful, however, they must become better known. If the Sacred Harmonic Society would purchase one of his oratorios, and complete its publication by printing the whole of the instrumental parts, a great step would be made towards the attainment of this end. An annual performance of such oratorio might not only be profitable to the Society's benevolent fund, but it would also be a graceful tribute to the composer's memory. . i

LINES FOR MUSIC.
There came a dream, — alas! I live in dreams,

And waking is a kind of death to me;
Such visions are true life, for all their themes
'Are love and thee.

We stood alone, and heard the west wind sigh;

And thou wast pale, yet wonderfully fair;
I naked for love, — gazed deep into thine eye,

And read it there.
I long and deeply gazed, until the night

Closed in upon us, and the pale moon shone;
Few words I spake, but they were full of might,—

"My love! my own 1
1 woke, — still longed to sleep, but vainly strove;

I smiled to think my courage all dream-grown,
And wept because I dare not call thee "love,"
Far less "my own."
June 24, 1842. C.K.D.P.

Lkii'sic.— Mile. Desiree Artot has been playing for six nights with great Success. She appeared twice as Mario in La Fille du Regiment, twico as Amino in La Sonnambula, once as Rosina in // Barbiere, and once as Orsino in Lncrezia Borgia.

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C|T, JAMES'SHAL L.—Mile. TITIENS and Mile.

KJ TREBELLI, Signor BETTINI and Slgnor GASSIER, will sing at the Concert of the Vocal Association on Friday, June 13, by the kind permission of J. H. Mai it Son, sq.; also Mrs. R. F. ABBOT and Miss ALICE DODD.

Pianoforte, Mr. E. Aguilar, who will perform a New Trio of his composition for Pianoforte, Violin and Violoncello.

Violin, Mr. H. Holmes; Violoncello, M. Paqce.

Choir of 200 Voices. Accompanyisl, Herr Wilhllsi Gakz.

Conductor, Mr. Benedict.

Sofa Stalls, 5s. J Resorted Scats, 3s.: Admission, It. At Mr. Austin's Office, 28 Piccadilly.

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THAI MISSES HILES will sing the Duet "OH!

I GLORIOUS AGE OF CHIVALRY," from Howaqd Glovf.b'> popular operetta " Once Too Often," at Mad. Dryden's Concert, June 19.

KERR M O LIQ U E begs to announce that his CONCERT will take place at the Hanover Square Rooms, FRIDAY MORNING , June 13. Full particulars will shortly appear.

IVTISS ALICE DODD will sing Moore's "Minstrel

-LvJL Boy " and Sciiloesjhb's "Queen of the a," at the Vocal Association, St. James's Hall, Juue IS.

HANDBOOKS FOR THE OPERA. —BOOSEY & SONS beg to announce that, owing to the repeal of the paper duty and the increased facilities that now exist in the printing of music, they are enabled to Issue the whole of their well-known series of Operas, for Voice and Pianoforte, at a reduction of 50 per cent from the prices at w hlch they were originally published. The operas are perfectly complete, with the whole of the recitatives, Jvc, in two languages, and are bound in limp cloth, so as to form portable companion to the theatre.

i. <i.

DON JUAN (English and Italian Words)' 9 o

FIGARO (English and Italian Words) 9 o

ZAU1IERFLO I'E (English and German Words) S 0

IL TKOVATOIIK i English and Italian Words) 5 n

ERNANI (English and Italian Words) 7 c

NORMA (English and Italian Words) 5 o

SONNAMBULA (English and Italian Words) G 0

D1NOHAH (Hngllshand Italian Words) 5 n

HATANRLLA (English Words) 6 0

DEK FKE1SCHUTZ (English and German Words) 6 0

FA U ST (English and German Words) GO

LUCREZIA BORGIA (English and Italian Words) 8 0

FIDELIO (English and German Words) 8 0

IL BARBIERE (English and Italian Words) 9 o

IPHIGENIA IN TAUR1S (English and French Words) h 0

Booster & Sons, Holmes Street.

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VIOLONCELLO for SALE..--. A first-class Violoncello to be disposed of. To be seen at 13 Silver Street, Notling Hill, Bajswater.

MISS ARABELLA GODDARD begs to inform her F'ricnds and Pupils that she has REMOVED to No. 2« Upper Wlmpole Street, Cavendish Square.

COLLARD & COLLARD'S NEW WEST-END ESTABLISHMENT, 10 Grosvenor Street, Bond Street, where all communications are to be addressed. Pianofortes of all classes for Sale and Hire.

City Branch, 2G Cheapsidc, E.C

Will be ready on Wednesday next.

THE PHILOSOPHY OF MUSIC. A New Work treating of the Literary aud Moral Bearings of the Art. By Joseph Godimbd.

Hoosey *lc .sons, Hol'es Street. <

NEW AND REVISED EDITION.
Price 12s.'

THE VOICE AND SINGING.

"* The Formation and Cultivation of the Voice for Singing.' By Adolfo Ferrari.

London: Duncan Davison & Co., 244 Regent Street ..

"The great and deserved success of this work has brought it, in no long time, to a second edition, carefully revised, and enriched with a number of additional [exercises which greatly increase its value."—Illustrated News.

London: DUNCAN DAVIDSON & CO., 244 Regent Street, W.

AIRS, BALLADS, &c. IN THE OPERETTA

"ONCE TOO OFTEN."

COMPOSED BY HOWARD GLOVER.

I rerformed with the greatest success at the Theatre Royal, Drury Lane.

"Oh! Glorious age of Chivalry." Duet (Soprano and Contralto)
"The solemn words his lips have spoken." Grand Air (Soprano)
"The lore you 're slighted/' Ballad. (Soprano)
"Stratagem is woman's power." Ballad. (Contralto)
"Love is argentic thing.*' Ballad. (Ditto)
"A young and artless maiden." Romance. (Tenor)
'* There's truth in woman still." Romance. (Ditto)
'* The Monks were jolly boys." Ballad. (Bass)
"In my Chateau of Pompernik." (Ditto) ....

FANTASIAS, QUADRILLES AND WALTZES.

Brinley Richards' Fantasia, on "Once too Often H 4s. Od.

Emile Berger's Fantasia, on "Once too Often" 3s. OJ.

Quadrille, ** Fontainbleau," by Strauss. (Handsomely Illustrated) 4s. Od.

Waltz, "La Belle Blanche," ditto ditto ... 4s. Od.

London: Duncan DAviso* Sc Co., 244 Regent Street,W.

MEYERBEER.

THE FOLLOWING COMPOSITIONS, by this eminent Composer, are published by DUNCAN DAVIDSON & CO.:

VOCAL.

#.

"Here on the mountain," with Clarionet obbligato ... ... ... ... 4

Violin or Violoncello in lieu of Clarionet, each 0

•* Near to thee," with Violoncello obbligato ... ... ... ... ... 4

** The Fischermaiden" ... ... ... ... ... ... ... 1

The Lord's Prayer for Four Voices, with Organ ad lib. ... ... ... 3

Separate Vocal parts, each ... ... ... ... 0

"This house to love is holy." Serenade for Eight Voices ... 4

Separate Vocal parts, each ... ... .. 0

"Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenors, and 1 Bass 4

PIANOFORTE.

Royal Wedding March (Quatri&me Marche aux flambeaux). Composed for the marriage of the Princess Royal of England with Prince Frederick William of Prussia ... ... ... ... ... ... ... ... 3 0

Ditto, ail duet ... ... ... ... ... ... ... 10 0

London: Duncan Davison & Co.,244 Regent Street, W.

This Day is published, price 4s.

TV/TILLE. TITIENS' New Song, "THE SONG OF

J-1X FELICIA," with German and English Words. Composed by MOZART j the English version by H. Andrews, Esq.

London: Duncan Davison & Co., 244 Regent Street, W.

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TAMES LEA SUMMERS' New Song, "COME, DEAR

•J ONE, BACK TO MB," sung by Herr Rbichaiidt, and rapturously encored at the Composer's Concert, St. James's Hall, May 30. Price 2s. Gd.

London: Duncan Davison & Co., 214 Regent Street, W.

Published by Boosby & So*a, Holmes Street.

"THE LIGHT IN THE WINDOW." Mad. Sainton

J- Dolby's New Song. Composed expressly for her by Virginia Gabriel, author of " the Skipper and his Boy."

THE CECILIAN PITCH PIPE (a new invention), for the waiiteoet pocket, is superior to all others, being much more powerful in tone than any other at present in use—the pitch does not vary, whether sounded Piano or Forte—is easily repaired, or the pitch altered if required.

Price (any note) 2s. Gd. Post-free.
Boosey A Cbino, 24 Holies Street, W.

EVANS'S ENGLISH HARMONIUMS for Cottages, Schools, Drawing Rooms, Churches, Literary and other public Institutions, are mud.' in every possible variety at prices from 6 to XiO Guineas. The Manufacturers have to announce the complete success of a New Patent Self-Acting Blowing Machine, the only self-acting blower that has ever succeeded, which may be seen in operation at Holies Street daily.

The most distinguished living musicians, including Balfe, Sterndale Bennett, ch riani Potter, Best, Henry Smart, &c, have testified to the extraordinary merits of Evans's Harmoniums.

See testimonials attached to Illustrated Catalogues of Harmoniums, to be had gratis of the Manufacturers,

Boobey & Chino, 24 Holies Street, London, W.

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EVANS'S PEDAL HARMONIUMS, with independent Pedal Reeds, can be had either with a single or double row of keys, it prices from t'.l to 13J Guineas; also with the new patent self-acting blowing machine. Boosby & Ciif.sc. Manufacturers. 24 Holies Street, London, W.

ASHDOWN & PARRY (successors to Wessel & Co.) beg to Inform the Profession that ther forward Parcels on Sale upon receipt ol references in town. Returns to b e made at Midsummer and Christmas.

Their Catalogues, which contain a great variety of Music calculated for teaching purposes, may be had, poit-frce, on application.

London; IS Hanover Square.

JFINCHA&l", Organ-pipe Maker, Voice, and Tuner, • 110 EUSTON ROAD, LONDON.

Amateurs aud the Trade Supplies at the Lowest Terms.

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