Price 12s.'


"1 The Formation and Cultivation of the Voice for Singing.' By Adols-o Frrraii. London: Duncan Davison & Co., 244 Regent Street.

"The great and doierved 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 Ketos.

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



Performed with the greatest success at tho Theatre Boyal, Drury Lane.
Published by Duncan Davison & Co., 244 Regent Street, W.



-L Composer, are published by DUNCAN DAVISON & CO.:—


'• Here on the mountain," with Clarionet obbligato ...

Violin or Violoncello in lieu of Clarionet, each 14 Near to thee," with Violoncello obbligato ... ... ... ...

*' The Flschermaltlen" ... ... ... ... ... ... ...

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

Separate Vocal parts, each
c is holy." Serenade for Eigne voices ... ... ..,

Separate Vocal parts, each ... * Aspira'.ion," for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenon, and 1 Bass

'This house to love is holy.'

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Composed expressly for him by CIRO PINSUTI, at MLLE. RUBINI'S CONCERT, Hanoveu Square Rooms; MR. BLAGROVE'S CONCERT. Hanover Square; MLLK. SEDLATZEK'S CONCERT, Grosvrnor Street; and at MISS STEELE'S CONCERT, Hanover Square Rooms.

MR. SALAMAN will PERFORM on a Double Harpsichord, by Shudi (1771), kindly lent by Messrs. Broadwood & Sons, at his GRAND EVENING CONCERT, at the Hanorer Square Rooms, on Tuesday next, Juut! 17, at Eight o'clock.

MISS ELLEN BLISS (Pupil of Benedict) will play at the International Exhibition EVERY DAY in the Ensuing Week. All Communications respecting Engagements and Fupils.to be addressed to Mefsrs.

Boosey & Sons, 28 Holies Street.

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ISS LOUISA VAN NOORDEN will make her First

— —m Appearance in public since her return from Italy, the latter end of this month (June), at a MATINEE MUSICALE. Particulars will be duly announced. Conductor: Mr. M. W. Balfb.

MR. GEORGE PERREN will sing Ascher's Popular Song, "ALICE, WHERE ART THOU?" at Mail. Cclli's Concert, Beethoven Booms, Mad. Sainton-Dolby's Concert, St. James's Hall, and at Miss Eleanor Armstrong's Concert, Hanover Square Rooms.

nHHE MISSES HILES will sing the Duet "OH!

-L GLOBIOUS AGE OF CHIVALRY," from Howard GLovEn's popular Operetta " Once Too Often," at Mad. Dryden's Concert, June 19.

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

Price (any note) 2s. 6d. Post-free.
Boosby & Cuing, 24 Holies Street, W.

ASHDOWN & PARRY (successors to Weasel & Co.)
heg to inform the Profession that they forward Parcels on Sale upon receipt of
references in town. Returns to be made at Midsummer and Christina*.
Their Catalogues, which contain a great variety of Music calculated for teaching
i, may be had, post-free, on application.

London ; 18 Hanorer Square.


Tho fourth and lost concert of the present (the fonrth) season, which took place on Wednesday evening in St. James's-hall, was an entertainment of more than ordinary attraction. It commenced imposingly with Mendelssohn's overture to Atlialie—perhaps, on the whole, his noblest orchestral prelude, and certainly the one in which he most completely lays aside whatever may be criticised as mannerism in his style, rivalling even Beethoven in massive grandeur and simplicity. At tho end of the first part there was a new MS. overture entitled Don Quixote, the composition of M. Silas—careful and clever, like everything that proceeds from his pen, scored thoroughly well for tho instruments, and exhibiting more than one trace of independent thought. This is the third piece by M. Silos which has been introduced at the concerts of the Musical Society of London, with the conductors of which institution he apparently stands high in favour. The audience, more difficult to conciliate than any other in London, or probably in England, were rather chary in acknowledging the unquestionable merits of the young Dutchman, notwithstanding the capital execution of his overture by the splendid hand which Mr. Alfred Mellon directs so well. This coldness in the recognition of unknown talent, however, may be explained by the fact that nearly one-half of the subscribers are themselves professors—many of them, indeed, composers, eager for notoriety, and possibly two or three with musical illustrations of some romance of Spanish or otherwise exotic origin in their own portfolios. The third overturo (with which the concert terminated) was Weber's magnificent Oberon. This, like Athalie, proceeds from so illustrious a source that its claims admit of no dispute; like Alkali*, it wai superbly played; and, to conclude, like Athalie, was applauded with enthusiasm. Weber and Mendelssohn need no indulgence, and may pass muster, unchallenged, where such aspirants as M. Silas are met with a " Qui va lit"

The symphony was Spohr's No. 3 in C minor, a work of unequal merit, and yet ono which, as a matter of duty, should be now and then brought forward. The first allegro, though built upon a gloomy theme, and somewhat monotonous in treatment, contains a second melody as graceful and pretty as any that Spohr has written, besides being instrumented with a richness peculiar to the composer. The next movement, larghetto, in " nine-eight" measure, is tho gem of the symphony—a flow of unsought melody from beginning to end, and containing one passage, which the entire host of fiddlers give out on the " lourth string," of sterling originality and superlative beauty. The scherzo is sombre, and more or less prolix; nor is it happily relieved by the forced liveliness of the trio, which, but for the major key, would be scarcely less heavy than its companion in the minor. The finale, while vigorous throughout, and occasionally even brilliant, is in many parts diffuse and laboured. The fugue constructed upon the principal theme, though spirited and ingenious, is not one of Spohr's most felicitous efforts in tho elaborate contrapuntal style; it brings back the subject effectively, however, and from this point to the end the interest never flags. We need hardly add that, the Symphony in C minor being the work of a truly great master, the critical remarks it has suggested must be weighed exclusively with that consideration in view. What in one of Spohr's orchestral works may be arraigned as comparatively weak, in 19 symphonies out of 20 would go unquestioned, if not, indeed, be cited in terms of praise. The performance on Wednesday night was, on the whole, worthy the unrivalled hand of the Musical Society of London and the conductor, whom English amateurs and English musicians, not without good reason, are ready to pit against any other. Every movement was liberally applauded, the larghetto and the finale, however, seeming to please the audience most.

The great feature of this concert—as it must have been at any concert, no matter of what pretensions—was the superb execution, by Herr Joseph Joachim, of Beethoven's unparalleled concerto, the only one, unfortunately, which the most gifted and profound of instrumental composers has dedicated to the fiddle. Herr Joachim has been styled "the modern Faganini ;" but, with deference to the wonderful talents of the great Italian violinist—legitimate successorof Tartini andannihilator ofthe chaste and classical Yiotti—this is hardly a fitting compliment to pay to one who has achieved what Paganini never dreamed of. Paganini was the Emperor of virtuosi; Herr Joachim is tho Emperor of genuine fiddlers — the interpreter elect of Bach, Mozart, and Beethoven, of Haydn, Spohr, and Mendelssohn; the grandest quartet plnyer, and probably the grandest concerto player whom, not only Germany, but Europo has known. What feat of mere " virtuosity," for example, can be for one instant compared with Herr Joachim's execution of the solo "chacomies," sonatns,and fugues of John Sebastian Bach—which, judged simply in a mechanical sense, are more difficult than all the "fantasias" of Paganini and his numerous disciples put together? Here we have note for note, and passage for passage. He who can play the fugues of Bach can, as a matter of course, play the fantasias of Paganini; but it by no means j

follows that he who can play the fantasias of Paganini can also play the fugues of Bach. Still higher, nevertheless, than one or the other, and indeed than both combined, should be esteemed the perfect reading— perfect in conception as in mechanical delivery—of such a work as the concerto of Beethoven, a musical poem of the highest imaginable beauty. Herr Joachim's execution of this marvellous concerto shows a genius only less than that which enabled the composer himself to produce it. He plays it (always from memory) as though he was extemporising in a moment of inspiration—as though, in short, every phrase of it came directly from his own brain. When the solo instrument should properly dominate, it dominates and subdues the orchestra ; when the orchestra has to bring out the most important features in the general design, the violin, ia Herr Joachim's hands, seems to wait upon it, as in duty bound — content to accompany where before it was accompanied. Never, for one instant, is the player made conspicuous at the expense of the composer. Beethoven speaks throughout, according to Beethoven's caprice; and Herr Joachim is only too coiftent to be the inspired tone-poet's mouth-piece. In the "cadenzas" alone docs Herr Joachim shine with the unaided brilliancy of a " virtuoso;" and even these are so thoughtfully, so reverentially made, that, amid all their amazing perplexities, they seem to be nothing more than rhapsodies in glorification of the music that has suggested them, and upon the most salient and conspicuous melodies of which they arc built. In fact, so entire an abnegation of egotistical display, combined with such faultless and magnificent execution, as that which characterises Herr Joachim's performance of Beethoven's violin concerto is, we may safely Bay, without a parallel. On the present occasion he surpassed himself, and raised the audience to a degreo of enthusiasm almost unprecedented in a concert-room. That Herr Joachim is the very first of living executive artists, is, we think, beyond a doubt.

The singers were Mad. Lemraens-Sherrington and Herr WachteL The lady gave the air in which Marguerite with rapture contemplates the jewels (from M. Gounod's Faust—an air cut after the pattern, but wanting the fluency, of the late M. Adolphe Adam) dcliciously, and was warmly applauded. The gentleman (for whom Mr. Salainan requested indulgence, on the plea of hoarseness) was less successful in the tenor song from Mozart's Die Zauberflbte (" Dies Bildniss ist bezaubernd schon "). while the admirable duet of Mathilde and Arnold, from Guillaume Tell, by the two, fell singularly flat, its extreme beauty considered. Perhaps it is not suited to a concert-room; or perhaps, in one instance, it was not so well — but it is useless speculating on what was an unquestionable failure.

At the end of the concert there was aloud call for Mr. Alfred Mellon, who came back to the orchestra to be greeted with a heartiness as genuine as it was unanimous.


(From a Correspondent.) The ceremonials and fetes attendant upon the installation of the Duke of Devonshire as Chancellor of the University of Cambridge were brought to a conclusion on Tuesday, when the prize orations were spoken and the installation ode was performed. His Grace's formal induction to the office took place on Saturday, with the usual Latin services and addresses, and on Monday he exercised his chancelloric duties by holding his first levee, and by conferring the honorary doctor's degree upon various distinguished persons. Then, practically, the business of the installation may be Eaid to have concluded, and the proceedings of Tuesday were therefore rather in the way of a wind-up congratulatory festivity than an essential or necessary portion of tho formularies customary on such occasions. If we remember rightly, there was no ode or any set musical performance of any kind when the late Prince Consort was installed, although the festivities were of a far more extensive, brilliant, and general character than those which have ushered in the ndvent of his successor. But although the scene of yesterday bears no comparison with that which the university and town of Cambridge presented in July, 1847, when her Majesty and the entire court for three days graced Alma Mater with their presence, it was gay and attractive. The different colleges evinced their respect for the new Chancellor in the orthodox university style. There was feasting in the halls— the "dons" and dignitaries wore their gala robes, and the undergraduates were enthusiastic in their applause, and equally emphatic in their denunciation of pro-proctors and other unpopular academic officials and public characters. Old " Cam " was dressed out in grand array. All along the banks at the back of King's, Trinity, and John's, union jacks and flags of all colours, some of which bore devices showing that they had been pressed from other services, waved, dipping gracefully to the river; and upon the green sward on cither side (which, later in the day, was the arena of a flower show) gaily decorated marquees and refreshment booths peeped oat here and there from beneath the rich foliage of the noble elms. In the Senate House itself the audience was sufficient to fill, without overcrowding, the building. The galleries, which are claimed by undergraduates as their own exclusive property, were, as a matter of course, thronged, except the cross gallery over the principal entrance, which was appropriated to Dr. Sterndale Bennett and his most efficient staff of vocalists and instrumentalists. The dais was occupied by the new Chancellor, who wore his state robes, the doctors in their scarlet gowns, and the various heads of colleges. The space in the centre of tho hall, from the foot of the dais to the entrance, was the standing room for the other members of the University and visitors, while on either side of them and along the entire length of the chamber rose five tiers of seats, accommodating between 300 and 400 ladies, habited in all the richness and variety of modern female fashion, and in the bright colours they displayed forming a marked and pleasing contrast to the dark black cloth and bombazine to which stern academic rule condemned the masses congregated above and below them. At precisely ten o'clock, his Grace the Chancellor, attended by the University officials, and accompanied by the majority of the doctors who received their degrees on the previous day, took his seat, and immediately the prize orations were delivered.

These concluded, the musical performance began. Tho band was directed by Professor W. Sterndale Bennett, who wore the toga of doctor of music, which differs from the ordinary doctor's robe in being a sort of drab or cream colour, lined with red instead of the usual scarlet. The ode, which was written by Professor Charles Kingsley, and set to music by Professor Bennett, was sung by Mdlle. Titiens and Mr. Wilbye Cooper, aided by an efficient chorus and a powerful band. The solo parts were given with great effect, and Titiens was more than once encored. At the conclusion there was a very general, but seeing that this part of the performance extended over nearly three-quarters of an hour, unreasonable, as well as uproarious, demand on the part of the occupants of the side gallery for a repetition of the whole ; but in the concluding item of the programme, viz., the National Anthem, with the first note of which Titiens effectually extinguished tho discord, a satisfactory compromise was found. After the anthem the company dispersed, and, except the flower show in the afternoon and the hospitalities of which each of the colleges was the scene in the evening, the business of installing the new Chancellor was at an end.

(Abridged from otJier Correspondents.) \ To-day was, after all, the day of celebrations, the proceedings beginning as before, saving that on the appearance of Professor Bennett in the orchestra shouts of acclamation arose that would have made the ears of Her Majesty's Commissioners, Sir Wentworth Dilke, Sig. Costa, and the S. H. S. "tingle." Cheers and counter-cheers went on as yesterday, but the under-graduate favourite was Professor Selwyn. The entry of Mile. Titiens was greeted with an ovation. Just before the Chancellor entered three hearty cheers were given for the Public Orator. At ton the Chancellor ^ntcred, and as a matter of course was immediately the cynosure of all eyes. Tho Chancellor having taken his sent, the prize exercises were recited. Each party entitled to the prize or medal was presented to the Chancellor in due form, and from the Chancellor's hands received his honorarium. Then the full orchestra ami chorus commenced the performance of the Installation Ode, the words by Professor Kingsley, the music by Professor Bennett. In the orchestra were 150 instrumental, and 90 vocal performers. Mile. Titiens and Mr. Wilbye Cooper sun^ the solos. It would be unfair to criticise a work so purely " occasional" as an Installation Ode. Neither poets or musicians can work so well " to order" as when they write because they have something to write. Professor Kingsley's poetic power is so well known, that it is no detraction to his fame to have written a second-rate poem upon this occasion; and Professor Bennett's position as our greatest English musician is so completely assured, that he mnst be satisfied on this occasion to have produced a work which, if it adds nothing to, certainly will not detract from, his reputation.

(From the " Times.") "The Chancellor proceeded this morning to the Senate House from Trinity College Lodge, at 10 o'clock. He was received on his entrance with great cheering, and the orchestra played the War Mnrch in Athalie. The recitation of the prize poems and epigrams then commenced, and as each successful candidate finished reading his prize composition he went up to the throne and received his medal from the band of the Chancellor. The English poem, by Mr. Iihoades, of Trinity College, was deservedly applauded in some of its parts. The recitations being over, the Installation Ode, written by Professor Kingsley, and set to music by Professor Sterndale Bennett, was performed. The performance occupied about half-an-hour. The solos

'were sung by Mr. Wilbye Cooper and Mile. Titiens. Tho solo by Mile. Titiens,—

41 1 Then let the young be glad,
Fair girl aad gallant lad/

was encored with much applause. The chorus,

"' Health to courage firm and high.
Health to Granta'i chivalry/

was rapturously applauded and repeated.

"' God save the Queen ' concluded the whole. Tho Senate House was filled in every part, but there was neither crowding nor confusion. The concert at the Town-hail last night was most successful. It consisted of selections from Mozart, Beethoven, and Mendelssohn."


The Concert on Saturday. May 31st, was of peculiar excellence* Auber's Grand Exhibition March was executed by the band j Beethoven's Choral Fantasia was performed with Mr. Henry Leslie's choir, and Herr Alfred Jaell at the piano; and a new cantata, entitled The Daughter of the Isles and the Knight of Saxony, by Mr. Henry Leslie, played for the first time in public. The cantata does no discredit to the composer of Holyrood. Though by no means a work of so much pretension, it bears unmistakeable evidence of the same pen — for Mr. Leslie has a decided style of his own. Wc shall not take upon ourselves to criticise the new production until wo have heard it a few times; we may, nevertheless, state that the general character of the music is light and graceful, and that there is no attempt at fine writing throughout. Simplicity and perspicuity have evidently been the object of the composer's desires, and in these he has been eminently successfal. Tho Bridal March is of a higher aim than any other piece in the cantata. It is brilliantly instrumented, and the theme is martial and inspiriting. The composer has evidently worked with a will to produce something worthy, and has not failed. Tho cantata, which has been composed in honour of the approaching wedding of Her Boyal Highness the Princess Alice, concludes appropriately with "God save the Queen," The principal singers were Mad. Lcmmens-Sherrington and Mr. Santley, both of whom sang their very best and were rewarded accordingly. Each was assigned a solo—to the Knight, a serenade, " Softly thy beams, O Morning Sun," and to the Bride, a recitative and aria, "With softer radiance glows." One of the most attractive numbers of the work is, wo think, the part-song "From your coral chambers speed ye," which wo have no doubt will be heard frequently. The choir sang admirably throughout, and were anxious, as may bo imagined, to do every justice to the composition of their director. Mr. Henry Leslie, by the way, directed the Choral Fantasia as well as his own cantata, Mr. Manns (who, we arc glad to hear, is quite recovered) being taken suddenly and severely ill.

Tho Choral Fantasia was, on the whole, a vigorous performance. Herr Jaell maintained the reputation he has already earned in England. The chorus and band were unexceptionable. Herr Jaell also played three solos — Bach's Gavotte in G minor, and two compositions of his own. In addition to their share of the cantata the choir sang Pearsall'g part-song "Oh! who will o'er the downs so free," and " liule Britannia," arranged by Mr. Henry Leslie; and Mad. Sherrington and Mr. Santley supplied their favourite songs respectively, "The shadow song," from Dinorah, and the "Colleen Bawn," from tho Lily of Killarney. Tho attendance was unusually largo for a half-crown day; but the attractions were above tho average, the weather wns beautiful, and, to conclude, there was a grand display of all the fountains.

Auelina Patti "lucia Di LAiiMEMioon." - The Lucia of Mile.

Patti exhibits all the improvement, mental and physical, which we observed in her "Sonnainbula," It is a far truer and more affecting, because a more passionate performance. It is now animated throughout with a depth of womanly feeling, which fulfils every necessity of the music and the story. We no longer look at a wonderful girl, but we listen to an earnest woman — and our sympathies consequently respond just as thoroughly as they are appealed to. Thus, whilst her acting is so improved, and not more in its more vigorous than its more delicate expressions — not more in the frantic energy with which she clings to her lover after the malediction than in the pitcousness of her appeal to her brother to release her from the contract — her singing, in due adjustment to it, relies now for its general effect quite as much upon the depth as upon the brilliancy of its expression. Taken as a whole, hers is now the most perfect embodiment of Lucia which wc have had since Persiani, and one that, in unison with the undeninblo attraction of her youth and person, allows of no existing rivalry. — Sun, June 9,


HER MAJESTY'S THEATRE. Ok Saturday the Huguenots was given, and was repeated on Tuesday, when Signor Giuglini, having recovered from his severe indisposition, reappeared as Raoul. On Thursday the popular tenor played Manrico in the Trovatore, and perhaps, with Mlle. Titiens, Mile. Trcbelli, and Mr. Santley in their respective parts of Leonora, Azucenn, and the Count di Luna, R finer performance was never given of Verdi's opera at Her Majesty's Theatre. On Wednesday, an extra night, Semirumide was performed for the last time this season, that is, as far as regards the "Sisters Marchisio," for, unless our ears deceive us, a little bird whispered to us that Mile. Titiens and Mile. Trebelli would appear for one night as Scmiramide and Arsace.

To-night Meyerbeer's Grand Opera Robert le Diable will be produced— first time at this theatre for thirty years or upwards — with, to borrow expressions from the programmes, " new and extensive scenery and original effects, by Mr. William Calcott, the machinery constructed by Mr. Sloman, the decorations and properties by Mr. Bradwell, the new and carefully studied costumes by Mr. J. May and Miss Dickinson." The following will be the cast: —

Alice, Mile. Titiens (her first appearance in that character); Isabella, Mile. Carlotta Marchisio (her first appearance in that character); Principal Nun, Mile. Morlacchi; Roberto, Sig. Armandi; Kambaldo, Sig. Bettini; Un Pretre, Sig. Gassier; Araldo, Sig. Cappello; 1st Cavnliere, Sig. Soldi; 2nd Cavalierc, Sig. Bossi; 3rd Cavalierc, Sig. Castelli; 4th Cavalierc, Sig. Casaboni; Bertramo, Sig. Vialetti.

ROYAL ITALIAN OPERA. ON Saturday night Lucia di Laimntrmoor was given for the first time this year. To Herr Wachtel, the new German tenor, who attempted the part of Edgardo, we can do no more at present than apply the motto, "vox ct preterea ni hit." He certainly has a fine voice, but has no idea just now of the best method of using it. That he may live and learn is our sincere wish. Another debut, that of a Signer Capponi, as Bidethe-Bcnt, may be passed over with the simple record of its having taken place, and the statement that he has an ngrecable bass voice ns postscriptum. Mllo. Patti's Lucia is already familiar to the operatic public. Taken for all in all, it is the most perfect, charming, and natural embodiment of the gentle Scottish maiden, who, in the madness produced by grief, commits a crime the most foreign to her normal disposition. The slow movement of the aria d'entrata, "Kegnava ncl silenzio," which Mlle. Patti always chooses, was delivered with exquisite expression; but of course the cabuletta excited most applause. The mad scene in the last act, however, offers the best opportunity fur the display of vocal proficiency; and of this the highly accomplished though youthful artist availed herself to the utmost, frequently startling the audience by her bold and brilliant feats into those sudden exclamations of delight which are the best tribute to a singer's talent. Mile. Patti's acting in the second act *rns nothing less than a masterpiece of qu el, unobtrusive, and natural pathos. Signor Delle Sedie's Enrico, as far as the singing was concerned, was excellent from first to last.

We are now having live performances regularly, week per week. On Monday, Signor Mario being unable to appear, not, as was stated, in consequence of indisposition, but in consequence of a domestic affliction (the death of his eldest brother), Guillaume Tell was substituted for the Huguenots. On Tuesday, Lucia was given for the second appearance of Herr Wachtel; on Thursday, the Prophite, and last night the Sonnambula. To-night the Huguenots, for the third appearance of Mlle. Antonictta Fricci.


Mr. Howard Glover's Concert on Saturday last offered attractions so numerous and so varied, that it was not surprising to find St. James's Hall almost inadequate to accommodate the enormous throng assembled. Anything like a detailed notice will be readily excused. One of the most noticeable features was the selection from Mr. Glover's charming operetta, Once too Often, entrusted to Miss Augusta Thomson, Mad. Laura Baxter, Herr Beichardt, Herr Formes, and Mr. Weiss. A new song, also from the same facile and graceful pen, composed expressly for Mr. Sims Reeves, and sung by that gentleman, won an unanimous encore—a compliment with which no one could feel disposed to quarrel, so elegant was the song, so faultless the singer. To Mad. Guerrabella fell a similar honor in an aria by Signor Biletta, "La Danza d'Amorc." A

debutante, Miss Soldenc, displayed a mezzo-soprano voice of excellent quality in another of Mr. Glover's efforts, a ballad entitled "The strain I heard in happier days." Of artists like Mad. Louisa Vinning, Mile, Titiens, Mcsdames Weiss, Lemmcns-Sherrington, Sainton-Dolby, the Sisters Marchisio, Miss Lasccllcs, Miss LcfBer, Mad. Florence Lancia, Nita Norric, Misses Stabbach, Horder, Georgi, Mile. Parcpa, Messrs. Santley, Gassier, Bcllctti, G. Perren, Temiant, Lewis Thomas—the mention of their names is sufficient guarantee of excellence; but, in addition to this formidable array of vocalists, the instrumentalists were equally strong, numbering Messrs. Aguilar, Pratten, Barret, C. Harper, Lazarus, and Hausser, Miss Anna Molique and Herr Molique, Mr. Charles Halle, Herr Joachim, M. Sainton, Miss F. Ward, M. Francesco Berger, Mr. John Wilson, M. Paque, M. Lavigne, &c. The accompanyists— or conductors, to speak by the card—were the bCnfficiuire, Messrs. Lindsay Sloper, Ganz, Berger, and Bandegger.

Mademoiselle Sedlatzek gave a tnatine'e in Collards' Rooms, on Thursday, in which she was assisted by Mile. Agnes Bury, the Misses Hilcs, Miss Anna Whitty, Mr. Tennant, and Mr. Allan Irving, as vocalists; and Messrs. G. A. Osborne, W. Ganz, Deichmann, Paque, J. BalsirChatterton.and Lazarus, as instrumentalists. The fairconeert-giver contributed the following pieces:—Aria " Per picta," from the Prophite, sung in German; song, or lied, "Fischlein," by Angelina; duet "Crudel perche finora," with Mr. Allan Irving; and the duet for two 6opranos from the Freischiitz, with Mile. Bury. The great vocal hit of the performance was Mr. Balfe's ballad "I'm not in love," sung by Mile, Bury. The duct from Mr. Howard Glover's operetta Once too often "O glorious days of chivalry," sung by the Misses Hiles, was also a great success. In the instrumental part, Mr. Osborne's trio for pianoforte, violin, and violoncello, played by the composer, Herr Deichmann, and M. Paque, deservedly bore away the palm. Messrs. Aguilar, Ganz, and Emile Berger conducted. There was a large and fashionable attendance.

Mr. Schloesser's rooms were filled by a distinguished company on Saturday evening last, when the following artists lent their valuable aid: — Mile. Marie Cruvclli, Mad. F. Lablaehc, Mile. Elvira Behrens, Miss Stabbach, and Miss Birch, Herr Beichardt, Signor Ciabatta, Mr. Burdini, and Mr. Allan Irving as vocalists, and, as instrumentalists, MM. ABehcr, Rubinstein, Laub, Davidoff and Schloesscr, Two trios for pianoforte, violin, and violoncello, by MM. Schloesscr and Rubinstein, were capitally played by the composers, assisted by MM. Laub and Davidoff. M. Aseher gave his popular solo, "Alice;" Herr Beichardt sung his always welcome "Cradle Song" (Good Night), and Miss Stabbach, Mile. Behrens, and Herr Beichardt an "Ave Maria" of M. Schloesscr, which is likely to become a great favourite with the public. Our space will not permit us to enter further into the details of this interesting soirie; suffice it that all the artists were on their mettle, and the audience, a large and brilliant one, had every reason to be satisfied with the entertainment provided by their talented host.

Mr. John Francis Barnett's Annual Concert was given in St. James's Hall, on Thursday evening, the 22nd ultimo, and was in 'every respect a brilliant affair. Mr. Barnett's predilection for the classic 1 masters is well known. Conspicuous among the items of the programme were Spohr's quintet in C minor, for pianoforte, two violins, viola, and violoncello; Mendelssohn's trio in D minor, for pianoforte, violin, and violoncello; and Beethoven's sonata in C major, Op. 53, in each of which Mr. Bnructt played the pianoforte part. Spohr's pianoforte 'quintet was originally written, and was first published, with aecompani.' ment for flute, clarinet, bassoon, and horn. It was first performed in this country with stringed accompaniment, by Mad. Dulckcn, in 18*7, in presence of the composer. Beethoven's sonata and Mendelssohn's trio are both household pieces, known to every amateur—or should be—to eulogise either of which would be as superfluous ns to gild refined gold. Mr. Barnett played splendidly, and was greeted with thunders of applause at the end of each performance, more especially after the sonata, as in it the achievement was nbsolute and unpanicipated. Not content with these grand and classic accomplishments, and knowing no doubt that among the aristocratic crowd assembled all tastes would not be

• attuned in sympathy with the mighty masters of music, Mr. Barnett, very properly we think, introduced Thnlbcrg's fantasia on Lucrezia Borgia, and won even more applause than in the sonata. In the quintet Mr. Barnett was assisted by Herr Molique, Herr Pollitzer, Herr

i Gofl'ric, and M. Paque, and in the trio by Herr Molique and M. Paque. , The vocal music, if not so highly excellent as the instrumental, was 'commendable. The Orpheus Glee Union sang three part-songs, and ■ two pieces, the composition of the bcnCficiaire, viz., hymn, "Tantum

• Ergo," and wood-song, ■ Midst grove and dell," the last two finding i infinite favour in the ears of the audience. Mnd. Lcmmcns-Shcrrington 1 — one of the veritable queens of the concert-room — sang Meyerbeer's

fine song "Nella," inimitably, and Adolphe Adam's "Ah! vous dirai

je, Maman?" brilliantly, besides joining Hcsdames Weiss and Laura Baxter in the well-known trio from Mr. Balfe's Falstaff, "Vorrei parla ma l'ira." Mad. Weiss gave Spohr's "Ah quanta vaga," Mad, Laura Baxter Mcrcadante's "So m'abbandoni," and Mr. Weiss "The Wanderer," with excellent effect; and Mr. Lewis Thomas, in a new air, or lied, by Mr. Charles Salaman, won universal approval for song and singer. The concert, which took place under the most distinguished patronage, was numerously and fashionably attended.

Mr. Lindsay Sloper's Pianoforte Performances have been among the most recherche" entertainments of the season. The programme of each was enriched with classic gems, while so much of what is called the "romantic" school—not because it is " romantic," but to distinguish it from the " classic "—was amalgamated with it as to ensure n delightful variety. In the second and last performance, given on Thursday afternoon, the 5th instant, the great pieces were Dussek's pianoforte sonata in G major, Op. 35, No. 2; dementi's Sonata in B flat, for two pianofortes; and Beethoven's Sonata in A major, Op. 30, No. 1, for violin and pianoforte. The meeting of Mr. Lindsay Slopcr and Mr. Charles Hallo in dementi's sonata created immense excitement, and the performance, we need hardly say, was incomparable; and not less incomparable, as may be guessed, was the play in Beethoven's sonata exhibited by Mr. Lindsay Sloper and Herr Joachim. Midway between the classic and romantic school, belonging to both yet neither—or, more properly, being one of the strongest examples of the really romantic school—is the fantasia in C major, Op. 159, for violin and pianoforte, of Franz Schubert, which, even by the side of Beethoven, dementi, and Dussek, gave out a light which could only proceed from a work of genius. Mr. Sloper's lighter contributions to the programme comprised Stephen Heller's Improvisata on " Fluthenreicher Ebro," song by Schumann, Op. 98; Herr Pauer's Berceuse in F major, op. 31; and his own "Spring Song," and valse brillante, "Eventide." The "Spring Song" and " Eventide" arc most charming and graceful compositions, and it requires no prophet to foretell their popularity. Mr. Sloper's execution of these pieces was absolute perfection, and indeed could not fail to recommend strongly bagatelles with a tithe of their merit. The songs were by Miss Banks and Mr. Santley—the lady contributing Mr. Sullivan's " Where the bee sucks," and "In my wild mountain valley," from the Lily of Kdlarney; the gentleman, "The Colleen Bawn," from the same opera, and Blumenthal's " Le Sguardo." Mr. Benedict's two songs carried away the palm. The vocal music was accompanied by Mr. Harold Thomas and Mr. Arthur Sullivan.

Mllb. Bondt, a pianist made known for the first time, we believe, to the London public, gave a matinie at the Queen's Concert Rooms, Hanover Square, on Saturday, May 10, under the highest patronage. The young virtuoso was assisted by Miss Palmer Lisle and llcrr Reichardt as vocalists, and M. Sainton and Herr Lidcl as instrumentalists. Mile. Bondy is a neat rather than a great player. If she lacks power, she possesses delicacy; if she wants profound sentiment, she has at all events refinement. She commenced ambitiously with Beethoven's Grand Trio in E flat, Op. 70, and performed, with M. Sainton, a sonata for pianoforte and violin, composed by M. Rubinstein. For her solos she selected Bach's "Fantasie Chromatique ct Fugue," in D minor; No. 7 of Schumann's "Novcllcttes," Op. 21; Stephen Heller's "Tarantella," No. 5; "Valse Impromptu," by Liszt, and "Erinnerang," No. 2, " Des Schwcisen Weiscn," by Raff. Not to make a pun on the name of the composer last mentioned, one or two of these solos might be denominated "riff-raff," even though the "Raff" piece displayed the fair pianist's talent to the greatest advantage. In the vocal music Herr Reichardt produced the usual sensation in his own '• Cradle Song," being compelled to repeat it. Herr Wilhelm Ganz accompanied the vocal music.

Royal Society Of Female Mcbiciaks A concert was given at

the Hanover Square Rooms on Thursday evening, the 22nd ultimo, for the benefit of the above Institution, when the following artists gave their gratuitous assistance: — Singers—Miss Augusta Thomson,Mile. Agnes Bury, Miss Poole, Miss Eliza Hughes, Miss Martin, Miss Steele, Mad. Guerrabella, Mad. Sainton-Dolby, Mr. Wilbye Cooper, Mr. Allan Irving, Mr. Weiss, and the Orpheus Glee Union: Instrumentalists—Mr. Charles Halle and Herr Davidoff. Of this performance it is not necessary to speak in detail. To those desirous of knowing the value of the music omitted from the performance of Guillaume Tell at the Royal Italian Opera, the trio for three sopranos from that masterpiece had no small interest. It was sung by Miss Martin, Miss E. Hughes, and Miss Steele, to whom we tender our best thanks for endeavouring to make known one of the brightest gems in Rossini's great work. The only encore in a long selection was awarded to Mad. Sainton-Dolby in Mr. Henry Smart's ballad, " The Lady of the Lea." In Grail's song," Speed the gallant barque," Mlle. Agnes Bury obtained a great deal of applause; and Mrs. Mounsey Bartholomew's song, "These be none of

beauty's daughters," 6ung by Miss Steele, with duet accompaniment on

the pianoforte by Messrs. Benedict and Francesco Berger, was one of the most genuine successes of the concert. The room was filled with an elegant and fashionable audience.

ExniBinoN Music.—On Monday night a grand concert was held in that vast and incommodious building, Exeter Hall, the principal features of which were the compositions written by Meyerbeer, Auber, and Stcrndalc Bennett for the opening of the International Exhibition. These pieces de circonstance—which rarely happens to works of the kind — promise to become universally popular. On the present occasion they were heard with the same interest, and received with the same favour, as hitherto. They certainly enjoyed every advantage that liberal enterprise could secure. A first-rate orchestra rendered full justice to the capital overtures of Meyerbeer and Auber, and the chorus of tho Vocal Association, reinforced by a large number of competent amateurs, was equally happy in Professor Bennett's beautiful setting of the Laureate's "Ode." The orchestra and chorus in all made up a force of nearly 500 strong; and with such an able and experienced conductor as Mr. Benedict at their head, the very admirable performance of the Exhibition music—which absorbed the entire second part of the programme—was no more than might have been expected. Each successive piece was listened to with profound attention, and applauded at the end with a heartiness that could not be mistaken.

The rest was "miscellaneous," too long to report in detail,but in each particular instance good of its kind. Such familiar acquaintances as the overture to Zampa, the prayer in the market scene of Masaniello, "Partant pour la Syrie," and our own " National Anthem," were quite in place at an essentially "popular" entertainment. The choir, however, had a less familiar task to execute in the fresh and charming part-song of Mr. Benedict, "Blessed be the Home," while the vocal "solo" department was unusually rich in attraction. Mile. Agnes Bury (formerly a member of Mr. Jarrett's German operatic company at Drury Lane) sang twice; Mad. Lcmmens-Sherrington—whose "Shadow Song," from Dinorah, created a positive furore — twice; Mile. Marie Cruvclli, twice; and Mr. Sims Reeves, thrice—or rather, being encored with an enthusiasm impossible to resist in a new ballad, entitled "She may smile on many," the composition of Mr. Howard Glover (a graceful pendant to his " Young and artless maiden"), four times. Since Mile. Cruvelli (sister to the once famous " Sophie") was last in England her voice —a rich-toned and legitimate "mezzo-soprano"—has gained in strength and improved in quality. Her singing, too, has acquired a refinement which can only be the result of diligent and unremitting study. We have rarely hear the cavatina, " O mio Fernando" (La Favorita), given with more finished taste and unaffected expression. Mile. Cruvclli was loudly applauded on retiring from the platform. The other pieces allotted to Mr. Sims Reeves were " Come into the garden, Maud" (Balfe), which never fails to make a "sensation"—being, indeed, one of the best " sensation songs" extant, and " Oh! 'tis a glorious sight," from Weber's Oberon—which the elder Braham himself, for whom it was originally composed, could not have delivered with more splendid energy. Some brilliant pianoforte solos by M. Ascher (brilliantly executed), the most engaging of which was his " transcription" of the elegant romance of" Alice," the most original his "characteristic" Dansc Niyre, agreeably varied the programme. Altogether, a more attractive concert was never provided for a Whit-Monday audience. The hall was crammed to suffocation.

"gttim to tty ffiiiiox.


Sir, — In your flattering notice of the above, you omitted to state it was under very distinguished patronage, in aid of the Institution for the General Welfare of the Blind, Euston Road, N.W. By inserting this in your next, you will oblige your obedient servant,

10 Great Marlborough St. James Lea Summers.


Sir,—Will you insert a list of the orchestra at Her Majesty's Theatre in your next number? Can you inform me if the basso Zucchini is identical with the Signor Zucconi who sang at the old Opera House in 1856, on the restoration of the Lumlcyan rfgimet With many apologies for trespassing on your valuable space, Yours,

Oxford, June 16, 1862. Opera-habitue.

[Sig. Zucchini is Sig. Zucchini, and we believe that Sig. Zucconi is Sig. Zucconi; at all events, neither is the other. Zucconi is not Zucchini, and Zucchini is not Zucconi. We have not a list of M. Arditi's orchestra at hand.—Ed.]

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