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In the Press,

A NEW EDITION OF THE PIANOFORTE

STUDIES

BY

STEPHEN HELLER,

Thoroughly Revised and partly Rewritten,
Published under the immediate superintendence of the Composer.

Extract from Preface. “A great number of Studies for the Pianoforte already exist, solely intended to form the mechanism of the fingers.

“ In writing a series of short characteristic pieces, I have aimed at a totally different object.

“I wish to habituate both Students and Amateurs to execute a piece with the expression, grace, elegance, or energy required by the peculiar character of the composition; more particularly have I endeavoured to awaken in them a feeling for Musical Rhythm, and a desire for the most exact and complete interpretation of the Author's intentions.

“ STEPHEN HELLER.”

THE EDITION CONSISTS OF FIFTEEN BOOKS, PRICE SIX SHILLINGS EACH.

LONDON:
ASHDOWN & PARRY, 18 HANOVER SQUARE.

Printed by GBORGE ANDREW SPOTTISWOODE, of No. 12 James Street, Buckingham Gate, in the Parish of St. Margaret, in the City ou Westmisel,

in tho Parish of St. Bride, in the City of London. Published by JONN Boosky, at the Office of BOOSEY & SONS, 28 Holles Street, Saturday, JUNE 28, 1802.

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

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THALBERG'S BALLADE,

AN ORIGINAL COMPOSITION FOR THE PIANO.
Price 4*.

"An exquisite Romance, which no imitator, however ingenious, could have written—as quaint, as fascinating, and at the same time as Thalbergian as anything of the kind that has been produced for years."

The Times.

THALBERG'S ART OF SINGING,

APPLIED TO THE PIANO.

New Series. Price 3s. each.

No. 13.—Serenade from '* II Barbiere."

14. —Duet from " Zauberflote."

15. —Barcarole from " Giant di Calais."

'16.—" La ci darem" and trio, " Don Juan."

17. —Serenade by Grctry.

18. —Romance from "Otello."

"Among the hitherto unknown compositions were some selections from the 'Art of Singing applied to the Piano,'' Transcriptions' of Operatic Melodies, arranged in M. Thalberg's ornate and elaborate manner, invaluable to Pianists who believe that the instrument of their choice can, under skilful management, emulate the violin itself in the delivery of cantabile passages."—The Times.

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THALBERG'S MATINEE, Hanover Square Rooms.—

-L THALBERG'S LAST APPEARANCES. On Monday next July 7, positively his last appearance in London this Season.

Herr Joachim and S. Thalderg will perform one of Beethoven's Sonatas. Stalls, 21*. ; Unreserved Seats, 10s. Gd. The Matiue^ to commence at Half-past Two o'clock. Programmes and Tickets to be had ai Mitchell**, Ollivier's, Chappell's, Cock & Hutching*', Bond Street; Cramer & Co.'*, Regent Street; Keith & Prowse's, Cheapside^ aud of S. Thalberg's Secretary, Hanover Square Rooms.

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ISS LOUISA VAN NOORDEN'S MATlNfiE, at

16 Grosvenor Street (by kind permission of Messrs. Collard), on Friday, July 11. To commence at Half past Two o'clock.

Artists: Mile. Licbharot, Signori Brttini and Giiuldoni (by permission of J. H. Appleton, Esq.), Herr Forster, Messrs. Aguilar, Favilli, Paql'r, P. E. Van Noorden, and Pupil.

Conductors: Messrs. Balpe and Ganz. Tickets, 10s. Gd. each; Family ditto, to admit Three, £1 Is. To be had at the usual places ; and of Miss L. Van Noorden, 115 Great Russell Street, W.C.

PHILHARMONIC SOCIETY. — JUBILEE
CONCERT, St. James's Hall, Monday Evening, July 11, r.t Eight o'clock.
The Directors have the gratification to announce that Mad. Lind-guldschmidt and
Mile. Titienk have kindly consented to sing, assisted by Mr. Simmy, Mrs. Anderson
(Pianoforte) — her last public performance— and Herr Joachim (Violin).

After the 6th, Tickets will be issued to non-subscriber*. Stall?, Balcony, or Area, 21s.; balcony or Area Reserved, lOs.Gd.; Gallery, ."is.

Addison, Hollier & Lucas, 210 Regent Street, W.

MR. JOHN BALSIR CHATTERTON (Harpist to the Queen) will play a New Duet for Two Harps with the Composer (Mr. John Cheshire) at Mr. CHESHIRE'S MATINEE, on July 0, at the Hanover Square Rooms.

Mr. Chrshirr will play Handel's Fugue, in E minor, from the " Suite dc Pieces," Alvar's Grand Fantasia Lucrezla, Ac. Re.

HERR DEICHMANN'S MORNING CONCERT, Thursday, July 10, at 3 o'clock, Hanover Square Rooms.

Vocalists: Miss Hobf.rtine Henderson and Mr. Wei>s. Instrumentalists: Messrs. Kundwortu. Deiciimann, L. Ries, H. Webb, Dacbert, Benedict, Ganz, and C. P. Mann.

Reserved Seats. 10s. 6d.; Tickets, 7s. each. To be obtained of the principal Music* sellers ; and of Herr Deiciimann, 13 Dorchester Place, Blandford Square, N.W.

THE LONDON VOCAL QUINTET UNION. — Miss It Use Horses (Soprano), Miss Leffler (Contralto), Mr. Carter (Tenor), Mr. F. Osborne Williams (Second Tenor and Pianist), M. De Fontanier (Basso), will give their FIRST MORNING CONCERT, by permission of Charles Collard, Esq, at 10 Grosvenor Street, on Wednesday, July 9, 18Gi'.*

Stalls, 10s. Gd.; Reserved Seats, br. To be obtained of the principal Musicsellers; and of the Hon. Sec, Mr. Henry Hersee, 2 Church Terrace, Camberwelt.

APTOMMAS'S SIXTH and LAST HARP RECITAL, on Tuesday, July 8, at Three o'clock, at 16 Grosvenor Street (hy kind permission of Messrs. Collard).

He will play Alvars'14 Concertino "(for two Harps) with Mr. Charlks Oberthcr; his own "Tarantella" (for two Harps) with Mr. John Thomas; a Trio (for Harp, Piano, and Organ) with Messrs- Knit; and Engel; Irish Melodies. Ac; and will be assisted by several eminent vocalists, who will sing Hossim'j " La Cbarile," with Harps, o, pan,and Piano.

Tickets, 6s. and 10s. fki. At the Music Shop?, and of Mr. Aptomiuas, 6 Leighton Grove, Kentish Town.

IENGLISH OPERA ASSOCIATION (limited).— J Persons intending to become Shareholders, and who have not yet sent in an Application for Shares, are requested to do so forthwith.

Forms of Application and Prospectuses may be obtained ac the Company's Office. ~~ Regent Street, and all the principal Musicsellers iu Town and Country.

Martin Cawood, Secretary.

MISS ARABELLA GODDARD begs to inform h«£ Friends and Pupils that she has REMOVED to No. 26 Upper Wlmpole Strejf) Cavendish Square. p Q

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ROYAL ACADEMY of MUSIC DINNEE, 1862.— COMMITTEE;

Messrs. H.C. Banister, Robert Burnett, Professor Sterndale Bennett, Henry Blagjwe, Richard Blagrove, J. Balslr Chatterton, F. R. Cox.'W. G. Cuiins, W. Dorrell, Charles Harper, F. B. Jcuson, Henry Laiarus, Charles Lucas, H. C. Lunn, G. A. Macfarren, Walter Macfarren, M. Maggioi'l, George Mount, Ciro Pinsutl, Cipriani Potter, Kellow Pye, H. Regaldl, Brinley Richards, Prosper Sainton, F. Schira, Dr. Charlei Steggall, John Thomas, J. A. Wallworth, W. Watson, and J. Williams.

WF.DNESDAY, July 9, at the Royal Academy of Music (by permission of the Directors), Charles Lucas, Esq., Principal, in the Chair.

Tickets, One Guinea each. To be obtained (by Vouchers only) of Messrs. Addison St Co., 210 Regent Street, Treasurers.

1 Osnaburgh Street, N.W. Walter Macfarren, Hon. Sec.

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AMATEUR DRAMATIC PERFORMANCE. — ROYAL ITALIAN OPERA, Corent Garden, WEDNESDAY EVENING Next, July 9.

An Amateur Dramatic Performance, in Aid of the Funds for the Relief of the present Distress in Lancashire, will be given at the Royal Italian Opera, Corent Gardeo, on Wednesday Evening, July 9, under most distinguished patronage.

C0HU1TTBB.

The Earl of SEFTON. | Sir CHARLES RUSSELL, Bart.1 J. C. O'DOWD, Esq. Honorary Secretary—GEORGE RUSSELL, Esq. The Performance will commence with THE LIGHTHOUSE: after which JTHE WATERMAN ; to conclude with BETSY BAKER.

The prices of admission will be those of the Italian Opera. Application for Ticket! and places to be made at Mr. Mitchell's Royal Library, 33 Old Bond Street, W.

rpiIE CECILIAN PITCH PIPE (a new invention), for

JL the waistcoat 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. 6d. Post-free.
Boosey A Chino, 24 Holies Street, W.

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Now Ready, in Two Vols., with Portraits, 21s.

THIRTY YEARS' MUSICAL RECOLLECTIONS. By Henry F. Choblby. "Every page of these volumes offers pleasant reminiscence?. No one singer of merit, or pretension to it, no distinguished composer of the period, is without his or her portrait. Whether as a conscientious history, a graceful series of portraits, or an anecdotical record, the author must be congratulated on the work he has accomplished."—Athenceum.

"Every one interested, whether professionally or only by sympathy, in the development of the muiical taste and the musical renown of this country will peruse these volumes with the utmost avidity. As a critic of the art, Mr. Chorley has long held a high and distinguished position amongst us; his characteristics being immense experience, wide and catholic information, a great aptitude of expression, and a taste somewhat absolute, though for the most part unfailingly correct. These qualities arc revealed in every page of the work before us, to which we strongly recommend our musical readers to refer for an Intellectual qualification of the highest order."—Sunday Timet.

Hurst & Black err, Publishers, 13 Great Marlborough Street.

THE BRIDAL MARCH (just published) for Piano. By STEPHEN GLOVER. Finely Illustrated. Price 3s. "An elegant effusion in honour of the event of the day."

London: Robert Cocks A Co., New Burlington Street, where the Hanover Square Rooms may be engaged on ail occasions.

NEW SONGS by FBANZ ABT, Composer of "Die Schwalben."—** O rosy Morn!" "Like a Well-spring hi the Desert." "0 sweet flowing Streamlet!" (words by Geo. Linley), "Thee only 1 Love," "O ye Tears 1" (words by Dr. Mackay), " Kathleen Aroon " (words by Mrs. Crawford), Ac.

London: Robert Cocks & Co., New Burlington Street, Publishers to the Queen.

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MUSIC IN BERLIN.

(From our own Correspondent.')

The doors of the Royal Opera House are closed for the season; the annual holidays have commenced, and manager, conductors, leaders, musicians, singers, dancers, painters, carpenters, property-men, bcxkeepers, check-takers, cleaners, doorkeepers, messengers, &c, following the bent of their business or desire, for, as Hamlet informs us—

"F. v cry man hath business and desire —
such as it is—"

have, by this time, for aught I know to the contrary, dispersed to the four quarters of the globe, in the search for amusement," the acquisition of gain. I wish them success in either occupation, or — to imitate the general example of mankind, so extremely liberal and philanthropical when liberality and philanthropy cost them nothing — in both. I will even go farther. Again imitating the example of my fellow-men, who — provided they are not doctors or lawyers — always display such a charming alacrity in giving advice, I would advise my friends, the above-named members of the Royal Opera House, to make the best use of their time. My advice may be superfluous to a set of poor devils who have been managing, conducting, lending, playing,singing, dancing, painting, scene-shifting, property-manning, boxkecpering, checktakering, cleaning, doorkeepering, messengering, ct-caHering, for the last I cannot say exactly how long, but what if it is? This would not be the first time that advice, spontaneously given, has been superfluous. '• O fortunate agricola I" Oh! lucky members of the Royal Opera House I Your labours are over — for a time, at least. Would that mine were! You, as far as the Royal Opera House is concerned, are as free as air, while I am still obliged to remain in the hot, dusty, sandy, oppressive, capital of Prussia, and write to inexorable London editors about fair sopranos now inhaling, perhaps, the breezes of our old friend, Ocean, that "mighty monster," at Ostend ; of first tenors, now languid by enjoying — of course, again "perhaps"—a cigarette and a glass of cool claret, instead of having to bear the oppressive glare and heat of the footlights; and of vigorous basses, realising their notions of pleasure, by vigorously ascending, stick in hand — for the third time 1 qualify the assertion by a " perhaps "— the rugged and steep paths which lead to the summit of the Brocken. But it is no use lamenting. The thing must be done, and as "the least said the soonest mended " seems to be a proverb exceedingly applicable under the circumstances, I will take the liberty of coining it for the occasion, and, in conformity with the lesson it conveys, dash headlong into the small stream of correspondence which is all that will this week flow from my inkbottle.

Among the lost works represented before the vacation set in with such severity was La Juive, which, despite the West Indian heat, filled the theatre in a manner that was most disagreeable to me, whatever it may have been to the treasurer. La Juice is exceedingly popular in most of the capitals and other towns of Germany, a fact to be attributed in a great measure, doubtless, to the great number of single pieces of importance contained in it. The overture, on account of the great length of the opera, is omitted; for the Germans like to get their theatrical performances over by about the time that London managers think of beginning their tragedy or "sensation " drama, after having disposed of the lever de rideau. which enjoys the honour—if honour it can be called—of the first place in the bill, simply that the audience may get comfortably settled in their seats before the real business, or pleasure, of the evening commences. But, though the overture is thus summarily disposed of, there is still enough, and to spare, left to satisfy the most voracious opera-goer in Berlin. The favourite pieces are, in the first act, the drinking chorus, Brogni's cavatina, and the finale ; in the second act, the scene in which Eleazar, Rachel, Leopold, and several Israciitish relatives and friends of the family are celebrating the Passover, Rachel's romance (E flat major), and the magnificently handled final trio; in the fourth, the duet of the two men, and Eleazar's grand air; and, in the last, the fearful, but deeply fascinating, finale. It is true that the entire opera—especially everything connected with the libretto and instrumentation—reminds one rather frequently, as a critical friend observed to me, on our leaving the theatre together aftert he performance, that it is; a child of the Imperial Opera House, Paris. But we should not reproach it with the soil whence it sprang, or the qualities thence derived; we ought, on the contrary, to esteem ourselves fortunate, considering the present dearth of operatic works of any value, in possessing a production which not only attracts and pleases the public, but, on account of the number of good parts it contains, satisfies likewise— mirabile dictu—all the singers — or, at least, some of them—say two or three, for I would not appear guilty of exaggeration, and, in a tolerably long experience of nature connected with " tragedy, comedy, history, pastoral, pastoral-comical, historical pastoral, tragical-historical, tragical

comical-historical-pastoral, scene individable or poem unlimited," to which must, in the present instance, be added —opera, I cannot recollect a single occasion in which everyone was contented with what was set down for him or her, or, when, not to put too fine an edge upon the thing, the majority were not greatly dissatisfied.

Mile. Lucca appeared to great advantage as Recha, or Rachel, for les deux se disent, though, be it clearly understood, not a volonU, but in this wise : When Halevy's music and Scribe's libretto, illustrating the history of a Cardinal's daughter brought up as a Jewess, and, as such, suffering a fearful death, are performed in Paris, the work is called La Juive, and the heroine denominated Rachel. When, however, the work is transferred to Berlin, its title is Die Judin, and that of the principal female character Recha. I mention this because the system of changing names and titles is not confined to La Juive, but extends to all other foreign operas, and is, at times, a source of considerable embarrassment to "Your own Correspondent," supposing him to be at all anxions—as he is—to preserve some sort of consistency in his letters. How often has he not been reduced (almost) to the verge of despair before he could decide whether to speak of Mozart's chef-d'auvre as Don Giovanni or Don Juan; to refer to Donizetti as the composer of Le Philtre, or Der Liebestranh; of Die Tochter des Regiments, La Fille du Regiment, La Figlia del Reggimento, or even The Daughter of the Regiment; to allude to Mendelssohn's Heimhehr aus der Fremde, or Son and Stranger; to patronise Robin des Bois, instead of Der Freischiitz? You may possibly reply, or, at least, for the sake of argument, I will suppose you to do so—Donde fuercs,naz comovieres;" "11 faut hurleravcclesloups;" otherwise, "When you are in Turkey you must do as the Turkeys do." But I beg to offer one objection to this: though I may be in Turkey, i. e. Berlin, my letters are intended for London, and I should like to know who, among the general public, would recognise in Der Nordstern their old friend L'Etoile du Nord; in Der Wassertrager, Cherubini's Deux Journtes; or, though lastly not leastly, ever suppose that Die Zigeunerin was Balfe's Bohemian Girl — who, by the way, although still hale, hearty, and vigorous — in fact, she may be said, so well has she preserved her charms intact — to be the Ninon de l'Enclos of opera — is rather an old girl now? The only source of consolation I can perceive, bubbling up from the midst of my doubt, is, that I am not writing for the general public, for the profanum vulgus—for the masses, but for a highly intellectual, polished, educated, and, though extensive, very select circle of readers, and that, therefore, it does not matter much, after all, whether I say Die ZauberflBte or the Magic Flute; whether I give the preference to Le Nozze di Figaro, or Figaro's Hochzeit; or whether, instead of alluding to Guillaume Tell, I designate that merry Swiss boy Wilhelm Tell. Just as

"The King of France, with thirty thousand men,
Marched up the hill, and then — marched down "en,"

I have, it strikes me, been taking unnecessary trouble in discussing the question, or troubling my head about it, since whatever plan I adopt for the nomenclature of operas, and the appellations of the various characters in them, the subscribers to the Musical World will at once understand to what works or to which personages I allude. Such being the state of things, I fancy I cannot do better than return to Mile. Lucca, who, I repeat, appeared to great advantage as Recha, or Rachel. Not only is the part suited to her musically, but it is particularly adapted to her idiosyncratically. She was very much applauded, and called on to be half-smothered with flowers and bouquets at the end of each act. By his rendering of Eleazar, Herr Ferenczy made a forward step in the good opinion of the public, and afforded unmistakeable evidence that he has lately been studying with laudable energy. Having said thus much in his favour, I am bound, in justice, to add, that he will still have to study much longer before, in my opinion, he has any right to the position he now occupies at the Royal Opera-House. He strikes me as being uncertain, musically speaking, and the conductor, Hcrr Doon, had to indulge in a series of becks and nods and wreathed smiles, the whole evening, in order that Herr Ferenczy might know the right moment to begin. Despite the good-natured Capellmeister, however, Herr Ferenczy spoilt the second finale by a piece of nearly inexplicable forgetfulness. I need hardly observe, I should think, that anything like character, either in his music or his acting, is out of the question when a vocalist has to count every bar. But there is a fair prospect of success for Herr Ferenczy if he chooses to study. He has a fine voice, which, with careful training, may one day enable him to achieve a good place in his profession. Herr Fricke was a highly satisfactory Cardinal Jean-Francois de Brogni, and Herr Kriiger a respectable representative of that gay deceiver, Leopold, who, I am afraid, does not enlist the sympathy of the audience to any very great extent, however much the artist charged with the part may exert himself. Mile. Pollak did not produce an overpoweringly favourable impression as the Princess. The chorus and orchestra went admirably, while the dresses, scenery, and mise-en-scene were all that could be desired.

The Opera House closed with a performance of Spontini's Nurmahal. I have nothing to add to the observations I made on the revival of this opera some time since.

I informed you, in my last letter, if I am not mistaken, that the French operatic company at the Victoria Theatre had made a decided hit, especially in Halevy's Mousquetaires. I regret to chronicle the fact of their not having been quite so successful in Fra Diavolo. It is a peculiarity of the Berlin public — a peculiarity in which they are encouraged by the critics — to measure professional visitors, both vocal and instrumental, by a standard which the artists themselves have never dreamed of adopting, any more than the celebrated Tom Thumb would have thought of measuring his own tiny stature against that of a stalwart life-guardsman. Thus Bazzini was compelled to play Mendelssohn's concerto, which did not at all suit him, and Henry Wioniawski obliged to select Beethoven's Violin Concerto, though aware it was out of his line. Similarly, lady visitors must absolutely sing Donna Anna and Fidelio, nilly willy, whether they will or no, and, on the same principle, the French company suddenly found themselves under the necessity of getting up Fra Diavolo, at a moment's notice, with the result I have already mentioned. The performance was, as everyone acquainted with such matters must have foreseen, a comparative failure. I must except, however, the Fra Diavolo of M. Coeuille, which, whether considered musically or dramatically, was finely sustained. M. Ricard, too, distinguished himself highly by the calm certainty with which he fulfilled the arduous duties of conductor. The Berlin conductors would do well to take example by him, and not hurry the tempo as they have hitherto been in the habit of doing, under the false notion of imparting sprightliness and vivacity to the music

There is a very respectable operatic company at Krall's Theatre. They have already given Der Freischiitz, La Dame Blanche, Die Beiden Schiilzen, Zampa, and Martha. A young lady of the name of Suvanny has created a favourable impression in the last. Herr Dumont is an intelligent conductor, and Herr t Khmer a thoroughly experienced stage manager.

On the 2nd instant, Herr Hertcl, who was engaged in the year 1804, at the National Theater, under the management of the celebrated IfBand, and eight years subsequently admitted into the Royal Orchestra of tho Opera House, celebrated the 50th anniversary of his entry into that famous body of musicians. A deputation of his colleagues waited on him to present their congratulations, together with a golden snuffbox. He declined the compliment of a grand dinner which was to have been given him. A short time since he was decorated by the King.

Herr von Herzberg has been appointed director of the Royal Domchor, in place of Herr A. Neidthardt, deceased. Meyerbeer has gone to Ems. Mile. Lucca, Herren Ferenczy, and Fricke are at Dessau j whether they have shaped their course to take part in a Court concert. Herr Woworski was to have accompanied them, but was prevented by a fall, luckily not dangerous, from his horse, and with the mention of this fact I conclude for to-day Vale.

THE HANDEL FESTIVAL. Saturday, June 28. As it was in 1857, and as it was in 1859, so it has turned out in 1862. The third of the Handel Commemorations, and the first "Handel Triennial Festival"—the name under which these unprecedented gatherings are, we believe, henceforth to be celebrated—has further strengthened a conviction, becoming more and more general, that the oratorio of Israel in Egypt (or Exodus) is the grandest choral work of the grandest of composers for the choir; and that nothing but adequate execution is needed to persuade the less initiated multitude of a fact which musicians have long held to be indisputable. Israel is not only the greatest pecuniary but the greatest musical success of the week. More than this, it may be affirmed, without hesitation, that such a performance as that of yesterday was never before listened to in England | or elsewhere. In no other country, perhaps, under any circumstances, could the indispensable materials be brought together; and even were it possible, by any contrivance, to combine them, in no other country is there a building sufficiently vast to contain, or sufficiently convenient to accommodate for the purpose, so large a concourse of singers and players. That the festival of 1857 was not a mere whim on the part of the Sacred Harmonic Society, and some influential members of the Crystal Palace Company, plainly appeared in 1859, when the centenary of Handel's Death was commemorated by another, in every sense superior; and that, having gone so far and done so much, the original projectors (all, fortunately, for the lovers of Handel's music, alive and active at their posts) were determined to proceed with and, if possible

perpetuate their scheme by renewals of the festival at stated intervals, so as to give it a place among—or, in strict truth, to put it at the head of—the periodical music-meetings of Great Britain, the series of admirable performances of which the third and last took place yesterday, before an assembly of nearly 17,000 persons, leaves no room to doubt. The " Handel Triennial Festival" may be now looked upon as an institution, the permanency of which no longer depends upon the caprice of individuals, the chances of meeting with a suitable locale, the ways and means of "organisation," or, indeed, upon any ordinary accidents and contingencies. The first celebration may be said to have taken place this week, and with a result that has every right to be hailed as a succession of artistic triumphs.

The performance commenced yesterday nearly half an hour later than usual—by which nothing was lost; on the contrary, a good deal was gained, inasmuch as the great majority of the audience were comfortably seated before the conductor gave the signal to begin; and thus all that solemn opening which sets forth the afflictions of the Israelites under their perverse and cruel taskmasters was heard without interruption. The tenor recitative, "Now there arose a new King over Egypt" (Mr. Sims Reeves)—so apparently simple, but, in truth, so artfully contrived a preface to the colossal work that follows—at once arrested attention; and this was never once disturbed until the end of the first part—the description of the plagues and miracles by which the God of the Israelites, through "Moses, his servant, and Aaron, whom he had chosen," delivered his people from the land of Ham. Considering, indeed, that nearly the whole of the first part consists of choruses, so close an attention, so marked and lively an interest, says no little for the musical taste and feeling of the vast assembly. True, these choruses are one and all graphic and superb; and true their execution, by the singers and players who, filling the enormous orchestra to the roof, might well be allowed to represent the multitude whose sufferings and miraculous release from captivity the oratorio celebrates, was unexceptionably good. But it is only very recently that Israel in Egypt—never appreciated while Handel lived—has been properly understood; and not more than thirteen years have elapsed since the Sacred Harmonic Society first had the courage to represent it precisely as the composer wrote it, without interpolating songs and duets, omitting choruses, or otherwise sacrificing this sublime masterpiece on the altar of Mammon. The impression produced by the oratorio "in its integrity" was, therefore, a gratifying proof of the advances we have made in the right direction. "And the children of Israel sighed"—the chorus to which the tenor solo is a prelude—was well delivered. Here, in his reiteration of the word "sighed," and his treatment of the sentence " and their cry came up to God " (to say nothing of many more remarkable points), Handel has reached the height of pathos; just as, in "They loathed to drink of the river," he has expressed the horror with which the Egyptians turned away from the water with a power that almost makes the hearer sympathise with their aversion. Never was the severe style, which attains its furthest limits in "fugue," applied to more legitimate purpose than in this most impressive chorus. Effectively as the one that precedes it was delivered, the execution of this was even better. The singers had warmed to their task, and it was evident they had resolved to make the last day of the festival the first in point of excellence. Mad. Sainton-Dolby gave the quaint air, " Their land brought forth frogs"—the only one of the plagues which, for reasons that need not be discussed, Handel has not described in chorus—with admirable self-possession, the characteristic orchestral accompaniment being subdued to a nicety. From this to the end of the first part the chorus have all the work to do. An unbroken series of eight pieces—during the progress of which the interest gradually accumulates, until it attains its highest point in the "Rebuke of the Red Sea," and the total destruction of Pharaoh's host—leaves them without an instant's rest. The plague of flies, and lice and locusts, so graphically delineated in the superb antiphonal chorus, " He spake the word;" that of the hailstones and the fire, set forth with astonishing vigour in " He gave them hailstones for rain;" the darkness covering the land—presented in choral recitative, through a succession of modulations so strange and yet so masterly as to have excited the wonder of musicians; the sacrifice of the first-born, that last and not least terrible of the plagues, conveyed in one of the most energetic of the fugued choruses; the delivery of the chosen people, who are led forth " like sheep," laden "with silver and gold," and " not one feeble person among their tribes;" the joy of the Egyptians at their departure (" And Egypt was glad"—another happy application of the severer fugal style of writing); the drying up of the Red Sea, the passage through the deep, and the overwhelming of the Egyptian host, of whom not one is left—included in a single chorus of three distinct parts, surpassing all the rest in grandeur; and. lastly, the fear of the people, who, impressed by " that great ,w«A which the Lord did upon the Egyptians," believe in Hin» "us " in His servant Moses"—are

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