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imperatively called for. The fact that the new operetta to be brought out on an English stage and in the English language is to be supported in three out of its four principal characters by German artists, makes matters worse and confounds all reflection on the subject.

As long as the State takes no cognizance of theatres,—and allows managers to do as they please, the prospects for opera and the drama can never be bright and hopeful. The interference of the legislature is not at present of great likelihood, and so things must remain as they are until the grievance comes to the worst, and then, and not till then, the remedy will be acknowledged and applied. In the meanwhile Mr. E. T. Smith is emphatically entitled to the thanks of the musical world for his extra endeavours in the cause of art. At the moment when his pantomime is in full swing, and is attracting all London young and old, he is about to bring out a new musical work by one of our most eminent composers, and engages some of the best vocal talent available in the country to support it. Such enterprise and liberality need no comment.

AT the last of Radecke's well-known concerts, it appears, by a recent letter of our correspondent from Berlin, that one of J. S. Bach's suites for orchestra (in D major or B minor, strangely enough he appears uncertain which) was performed. The orchestra in this instance consists of stringed instruments, and a flute, and whichever the suite, it must be considerably over a century old. Nevertheless this was its first introduction to the Berlin amateurs. We allude to it merely for the sake of making our readers acquainted with a criticism of the work, and of Bach's instrumental (orchestral?) music generally, which has appeared in a Berlin paper", and which, amid some questionable doctrine, contains much that is interesting. We translate it in extenso, omitting merely a superfluous preamble :—

"Whenever Bach's name is mentioned, it is thought the correct thing to strike up the-' Gloria' at the top of one's voice. The memory of no other musician is so rankly overgrown with fine talk, simulation, and false sentiment, as that of the great organist of St. Thomas's Church. As the most unreserved frankness is one of tho first duties of our calling, and as sincerity is almost more important than correctness in the statement of our impressions, we must, even at the risk of committing the sin of heresy, make up our minds to confess that we could never discover ought in Bach's instrumental creations, save an essentially historical interest, and that we in nowise share, nay, that we do not even understand, the enthusiasm manifested for them. If the composer's Cantatas and Motets belong to the immortal models of this kind of composition, while his Suites bear altogether a pne-classical character, the fact strikes us as being so far from strange, that the contrary rather would be astonishing. Vocal music had already an artistic Past of several centuries, when signs of independent existence began to be perceptible in the domain of instrumental music. Bach's orchestra was nothing more than an apparatus constituted and treated after the fashion of its model, the organ. Its various component parts, instead of being developed as free and characteristic individualities of tone, wereemployed by the hand of the composer as so many separate registers; its tongue was bound, its onward nature fettered.

"Bach's instrumental works bear about the same relation to Beethoven's, that the motets and masses of the 16th century do to Bach's own cantatas. In them formalism chiefly predominates over idea; and instead of beholding pictures of feeling, inwardly and outwardly filled up and well defined, we see only dashing and resonant arabesques. The logical sequence of their development, with their inexhaustible variety of 'figure,' is, no doubt, wonderful; but we seldom escape from the purely formal element, the proper treatment of which was, at first necessary to make the resources of music sufficiently pliable for the subsequent reception of all the treasures of the mind. But, as a thorough

* Tho National Zeitung.

musical education always presupposes an intimate acquaintance with the historical phenomena of the art, the thanks of all true admirers of tho latter are due to the givers of these concerts for presenting to them such works, in which the first stones are supplied for rearing the edifice of tho imperishable instrumental compositions afterwards written. The germs of the more modern symphony are contained in the Suite, which invariably consists of a broadly treated introduction or overture — in all its essentials, more nearly related to the preludes for the organ or pianoforte — and, furthermore, of a series of shorter movements which borrowed their names from all kinds of national dance melodies, of which they remind-us by their rhythm and the brevity with which they are treated. Of these dance forms, the minuet held its place the longest iu the Symphony, though even that had, at last, to make way for the modern scherzo."

Admitting the truth of much of the foregoing, we are merely anxious to stipulate that Bach's compositions for orchestra, with all their merits, and we find a vast deal more in them, beautiful as well as ingenious, than the critic of the National Zeitung seems to admit are in no way comparable to his solo instrumental works, such as the Clavier bien tempere and others in which are found those imaginative preludes and fugues (to say nothing of the long allegro movements with which several of the suites commence) which stand alone in the art, are as interesting now as if they had been only just produced, and as surely as anything in music bear the mark of imperishability.

THE Bandmaster of the 59th Regiment of Austrian Infantry, Herr Zawerthal, was presented, in the year 1849, at Milan, with the original of the following letter of Mozart, by the latter's surviving son, Carl Mozart. The letter is directed by Mozart to his wife, at the period of the production of Die Zauberfldte:]

Saturday night, half-past 10 o'clock.

"Mr DEAREST, BEST LITTLE WlFE,

"It was with the greatest pleasure and feeling of joy that I found your letter at home on my return from the opera. The opera, although Saturday (on account of its being post-day) is always a bad day, was produced before a house quite full, and with the usual applause and repetitions;—it will be played again to-morrow, but the performance will be suspended on Monday; consequently Siissmcyer must bring Stoll over on Tuesday, when it will be again produced for the first time. I say for the first time, because, in all probability, it will again bo played several times in succession. I have just finished a splendid piece of sturgeon which D. Primus (who is my faithful valet) brought me, and, as my appetite to-day is rather large, I have sent him out again to get me, if possible, something else. In the interval I continue, therefore, to write to you. This morning I wrote so industriously that I went on until it was half-past one o'clock; I then ran in the greatest hurry to Hofer (in order not to have to dine alone), and there I found tho mamma as well. Directly after dinner I returned home, and wrote again until opera time. Leitgcb asked me again to pass him in, and I did so. To-morrow I pass in the mamma; Hofer has already given her the book to read. In her case, no doubt, we shall be able to say she sees the opera, and not she hears the opera. N. N. had a box to-day. N. N. manifested their approbation very strongly at everything, but he, who knows everything, showed so much of the Bavarian, that I could not stop, for I should have been compelled to call him an ass. Unluckily I was in the box at the commencement of the second act, that is to say, at the grand scene. He turned everything into ridicule; at first I had sufficient patience to direct his attention to certain phrases, but—he turned everything into ridicule. This was too much for me—I called him Papageno, and went away. I do not think, however, that the idiot understood me. I went, therefore, into another box, in which were Flamm and his wife; with them I experienced nothing but pleasure, and remained to the end. I then went up on the stage at Papageno's aria with the bells, because I felt to-day impelled to play it myself. I indulged in a joke. As Shickanedcr had a wait, I struck an arpeggio; he started—looked across the stage, and saw me; when it came a second time— I did not repeat the action —he stopped, and would not go on. I guessed his thoughts, and struck another chord—he then struck the bells and said, 'Shut up!"—every one laughed. I think that, through this joke, many persons learned for the first time that he did not play the bells himself. By the way, yon cannot conceive how charmingly one can hear the music in a box near the orchestra — far better than in the gallery. Directly you return, ycu must make the experiment.

"Sunday morning, 7 o'clock, ^-I have had an excellent night's rest, and hope that you have had the same. I greatly enjoyed my half capon, which friend Primus brought me. At ten o'clock, I go to the Piarisls to moss, because Lcitgeb told me that I can then speak to the Director. I shall, also, remain to dinner."

Unfortunately, a part of the letter (about twelve lines) is wanting, about half a sheet being cut away. On the second half-page is the following postscript: —

"Kiss Sophie in my name; to Siissmeyer I send a couple of good fitlips and a fine Schnpfbentler—to Stoll, a thousand compliments. Adieu — the hour is striking — farewell! — we shall meet again!"

"We hope that whoever has the missing part of this letter will publish it, in order to complete the whole. Herr Zawerthal informs us that the said missing part, from one margin to the other, may be spanned by an ordinary-sized hand, and, in all probability, comprises about nine or twelve lines. The signature is also upon it; a third of the address, however, and half the seal, were in the possession of Herr. Zawerthal at this time.

Mb. Howabd Glover's Concert last Saturday, despite the unfavourableness of the weather, attracted an audience which not only filled every part of St. James's Hall, but absorbed the orchestra to such an extent as barely to leave room for the performers, of whom it might truly be said that " their name was legion." To enter into a detailed analysis of the programme would be impossible. Suffice to say, that almost every variety of musical taste was gratified. For the classical, there was a sonata of Beethoven in C minor, for pianoforte and violin, by Miss Alice Mangold and Mr. Ole Bull; the "Moonlight Sonata," by Mr. John Wilson ; airs of Mozart, Handel, Haydn, &c.; while the lovers of modern music had only one cause of complaint — that so few compositions of the concert given were included in the scheme. Only three pieces of Mr. H. Glover's were introduced: the charming ballad from Itvy Bias, "Could life's dark scene," sung by Mde. Guerrabella; the rondo from the same work, " Why for all this loving care," by Mile. Parepa, and an "allegro agitato" for pianoforte, which did not lose by coming in juxtaposition with Chopin's "Marche funebre," both played, and well played, by Miss Alice Mangold. The " Sisters Marchitio " gave two duets, " Giorno d'orrore " and "Deh, conte," from Norma, the latter for the first time in London. Bellini's duo was hardly so effective as Rossini's, the adalgisa part being, perhaps, too high for Mile. Barbara. Mr. Sims Reeves, of course, was encored in "My own, my guiding star," which he, of course, wisely resisted. M.le. Sainton - Dolby contributed a couple of songs, both sung in her usual artistic style. Mde. Laura Baxter created a decided sensation in Mr. Henry Smart's charming song, "The Fairy's Whisper." For solo violinists there were Messrs. Vieuxtemps, Sainton, and Ole Bull, each of whom delighted the audience after his manner. Signor Belletti sang the scena "Sorgete," from Maometto, one of the most artistic performances of the concert. Mile. Georgi, Mde. Nita Norris, Miss Eliza Horder (a talented and promising pupil of Mr. Howard Glover), Miss Stabbach, Mde. Weiss, Miss Emma Hey wood, Mrs. Merist, Mile. Florence Lancia, Miss Hannah Hiles (a debutante who made a favourable impression), Signor Ciampi, Herr Reichardt, Messrs. Weiss, Lazarus, Ashton Swift, Brinley Richards, &c, all rendered efficient service and gratified their hearers; the post of conductor being in turn filled by the bcntSficiare, Messrs. Benedict, Ganz, and Lindsay Sloper.

Mr. Carter's Choral Classes.(From a Correspondent.)— The members of these classes gave a performance of Mendelssohn's Elijah, on Friday last, at St. Luke's Schools, Chelsea. The manner in which the choruses were given, especially "Thanks b! to God," reflected credit on every member, and on Mr. Carter, their conductor, and his brother, Mr. G. Carter, formerly organist at St. Luke's, now at Montreal Cathedral, Canada. The solos were sung by Miss De Courcey, R.A.M., Miss Marian Wheatley, Mr.

William Evans, and Mr. David Lambert, of St. George's Chapel Royal, Windsor, upon whom devolved the part of Elijah.

Mr. Howard Glover's new operetta, Once too often, announced for Thursday last, has been postponed till Monday. The cast comprises the names of Mde. Jenny Bauer, Miss Emma Hey wood, Herr Reichardt, and Herr Formes.

MONDAY POPULAR CONCERTS.

The 70th Monday Popular Concert was held, on the 13th inst., before an audience of nearly 2,000 persons. St. James's Hall never looked more brilliant, and never was a programme of genuine music listened to with greater attention or applauded with greater enthusiasm. Although the artists, vocal and instrumental, were, without exception, first-rate, there can be little doubt that it was the selection of pieces—the quartets and sonatas more especially — which on this occasion, as on almost every previous one, attracted the crowd that filled the spacious mu>ic-room; and this is by no means said in deterioration of the merits of the performers, inasmuch as, without an execution as nearly as possible irreproachable, the compositions of the great masters would never have obtained the unanimous acceptance which has been extended to them since the first institution of the Monday Popular Concerts, in February, 1859.

M. Vieuxtemps being "on leave," his place is now supplied by M. Sainton, who represents the French school of violin-playing with no less credit than his renowned contemporary represents the Belgian—and who, moreover, is intimately conversant with the classic repertory of chamber music. M. Sainton, an habitual resident in this country, has, perhaps, except from true connoisseurs, scarcely hitherto received the full acknowledgment which is his due. He does not appear so frequently in public as M Halle and other foreigners, who are by this time naturalised Englishmen j but his deserts are none the less remarkable for that and the superb manner in which he led Spohr's quartet in F, minor (No. 13), the first piece in the programme, showed that, though M. Vieuxtemps was absent, M Sainton being present, the lovers of sterling quartetplaying had little or nothing to complain of. No violinist renders the music of Spohr with more spirit, ease, and refinement, and, in choosing the quartet in E minor, M. Sainton judiciously fixed upon a piece calculated in every way to exhibit to advantage the most salient characteristics of his talent. The larghetto — the theme of which somewhat resembles that which Beethoven has so exquisitely varied in one of the quartets, Op. 18 (in A), is as melodious and as ingeniously handled as any similar movement of Spohr; and with this, while the entire work was heartily enjoyed, the audience appeared most thoroughly delighted. With the great French violinist, whose reception was highly flattering, were associated the tried quartetists of these entertainments — Herr Louis Hies, Mr. H. Webb, and Signor Piatti, second violin, viola, and violoncello. Thus Spohr's delicate and elaborately woven music enjoyed every chance of appreciation; and the general feeling was—when the applause that greeted the performers at the end of the quartet had subsided — that, if a whole programme made up of " Spohr" would sound a little monotonous on account of certain mannerisms peculiar to his style, the occasional introduction of one of his elegant and masterly compositions was indispensable. To Mozart, Beethoven, and Mendelssohn — whose invention was as inexhaustible as their genius was original — is alone accorded the privilege of keeping the attention of a crowded assembly alive from one end to another of ft concert devoted exclusively to their compositions.

It was not only the first appearance of M. Sainton, but that also of Signor Piatti, whose post, as accredited violoncellist to the Monday Popular Concerts, has from the commencement of the present season been so worthily filled by M. Paque. That on such an occasion the "Prince of Violoncellists" should be allowed a special opportunity of display was both natural and fair. Consequently, in addition to the quartet, a grand duet, with pianoforte, was set down for him. This was the earliest of the five sonatas for pianoforte and violoncello composed by Beethoven — the one in F major, Op. 5, first essayed in 1797, by Beethoven himself and M. Duport, a celebrated French violoncellist of the day, at the Court of the King of Prussia. What was tho royal present to M. Duport is not on record, but Beethoven is said to have received from the King's own hands "a gold snuff-box filled not with snuff, but with louis (Tors," a snuff-box which— as Beethoven afterwards used to tell the story, with a satisfaction wholly at variance with his notorious contempt for such things—"was not an ordinary snuff-box, but one of the same kind which it was the custom to present to ambassadors." This from the man who, subsequently, at Vienna, walking side by side with Goethe, when the author of Faust uncovered his head as the Imperial carriage went by, disdainfully buttoned up his coat, and left his illustrious companion to play the courtier alone, may require an explanation, which those who care to know why Beethoven did so-andIo, and why Beethoven did not so-and-so. must seek elsewhere than in a report of a musical concert. Happily Beethoven's sonatas may pass without question, on the unaided strength of their own beauty j and had the man been twice as eccentric and twice as inconsistent, the musician—neither one nor the other—would always find ready sympathy. True, in these early violoncello sonatas, and in other works of the kind, we detect sufficient traces of obligation on the part of their composer to justify us in suggesting that if, at this period, Beethoven had seen Haydn and Mozart pass in a carriage, gratitude, if nothing else, would have induced him to salute them—" Emperors" of Harmony, as, in his youth, they undoubtedly were —" hat in hand." For the manner in which the Sonata in F major was played by M. Halle and Siguor Piatti no praise would be excessive. The audience were evidently persuaded that they had listened to a performance little short of faultless, and recalled both pianist and violoncellist to the orchestra with "acclamations."

The solo pianoforte piece (introduced—like Spohr's quartet—for the first time) was Beethoven's sonata, entitled Les Adieux, VAbsence, et le Jtetour (Op. 81). Beethoven was not addicted to giving fantastic titles to his compositions, and indeed very rarely gave them any names at all. But in this instance his idea is made so clear, and developed throughout in a spirit of such consummate poetry, that none can reasonably quarrel with him. Had there been nothing else but the two examples of Beethoven in the programme—of Beethoven wholly under the influence of Mozart, and of Beethoven in his maturity, the most independent and truly original of all musicians (Bach not excepted)—the concert would have been both instructive and interesting. The Sonata in E flat is not merely a masterpiece in an abstract musical sense, but a poem of profound and exquisite beauty. No composer but Beethoven has produced such works as this, and some others like it—works in which music is made to speak a language so eloquent and convincing that it would be superfluous attempting to translate it into words. An essay might be written about this sonata, and still much be left unsaid. Our readers, however,—to the great number of whom, no doubt, it is more or less familiar—must be satisfied to know that M. Halle made it at once intelligible and acceptable to the crowded audience of Monday night, who listened to his performance with unabated interest, and summoned him with enthusiasm at the conclusion. The last instrumental piece—Haydn's lively and animated trio in G, for piano, violin, and violoncello—pluyed to perfection by MM. Halle, Sainton, and Piatti, brought the entertainment to an end with the best possible effect. Very few left before this began, and those who remained had good reason to be satisfied. The enlivening finale, "alt Ongarese," must have sent every one home in high spirits.

The vocal music was more than usually attractive. Mad. SiintonDolby made her first appearance at these concerts for more than a twelvemonth, equally impressing her hearers with her admirably classical delivery of the grand air from Gluck's Alceste, "Divinites du Styx"—which breathes the very spirit of Euripides (and must have abashed and astonished the "Piccinists")—an I with her unaffected reading of Mr. Vincent Wallace's "Fire-side Song" (words by Mr. Chorley), a model ballad in its way. The last was acknowledged by a general demand for repetition, with which the accomplished "contralto " good-naturedly complied. The other singer was the steadily progressing Miss Banks, who, in Dussek's delicious canzonet, "Namo the glad day" (one of the most valuable " revivals" of the Monday Popular Concerts), and Mr. Macfarren's graceful ballad, "Never forget," fully maintained the reputation she has so legitimately acquired, being recalled after the canzonet, and deservedly applauded in the ballad. Mr. Benedict, as usual, accompanied the vocal music.

(From the Saturday Review, of Jan. ith, 1862.)

"The Monday Popular Concerts still retain their hold upon the favour of the public. Their merits are indeed now so universally recognised, concert after concert of such acknowledged excellence being offered to their patrons, that it would be waste of time to chronicle their praises, except at occasional opportunities when we wish to show that we are fully alive to the really good work which these entertainments are doing in advancing the highest interests of music. It is, in fact, difficult to over-estimate the significance and importance to the musical world, both professional and amateur, of the success of an undertaking of this kind. It has now stood the test of a trial of four seasons, during which its popularity, so far from having flagged, lias been constantly upon the increase. The original scheme was essentially of a tentative character, and it was very fairly doubted whether a sufficient audience could be brought together from the classes for which the performances were prin

cipally intended, to secure its success in a pecuniary point of view. Six performances, therefore, only were contemplated in 1859, when the idea was first conceived. So instantaneous and unequivocal, however, was the popularity which the concerts achieved, that instead of six, thirteen were given during the first season, twenty-seven in the second, ond twenty-four in the third. Nearly all the chamber music of the greatest masters has thus been brought before the public in the courso of the sixty or seventy concerts which have been given, and that, too, with a perfection of execution which has satisfied the most fastidious and highly-educated connoisseurs. Besides this—and it ought perhaps to be reckoned quite as great a service to musical interests—many works of merit have been rescued from the oblivion into which they had of late years sunk. The works of Handel, Diissck, Cherubini, Schubert, Hummel, Steibelt, Woelfl, Clementi, and a host of others which could be mentioned, contain numerous beauties which it only required enterprise and judgment to make appreciated ; nnd although most of these yield, of course, to the superior greatness of Haydn, Mozart, Beethoven, Mendelsshon, the acknowledged masters of composition for the chamber, they are, if for no other purpose, extremely valuable as affording a standard by which these great men can be judged and criticised. A most commendable judgment, again, has been shown in not introducing too many of these novelties and _ revivals, nnd particularly as no small part of the work of the undertaking has been to educate its audience by degrees; and therefore the largest share of the performances has been devoted to the most perfect models of composition. In asserting that this point has really been attained, we shall be borne out by every one who has witnessed the almost fanatical attention with which each pieco is received, however abstruse its character may be. In this respect, it is the shilling audience which is the most remarkable; and this is a fact which speaks most significantly both to the increased cultivation of music in general, and to the effect which these concerts ha*e produced upon the middle and lower classes in respect of that cultivation. Tho secret of these successful results lies in tho fact that none but executants of the very highest excellence have been engaged; and it has thus been fully proved that perfection of execution will always secure, first, attention, and, finally, appreciation for works of real merit, however difficult of comprehension. The most preeminent names of the staff have been those of Arabella Goddard, Halle, Joachim, Sainton, Vieuxtenips, Becker, and Piatti j but every subordinate department has been filled in n style which has done justice to the merits of these great performers. Of the two first-mentioned, it is not too much to say that they have done far more for classical pianoforte music than any of their professional brethren who could be mimed, and for their admirable readings of Beethoven's Sonatas in particular, they deserve the thanks of all who believe, as we do, that they are by far the greatest works ever written for the instrument.

"Durinp the last season of the Monday Popular Concerts, and so fains we have proceeded in this, M. Vieuxtemps has contributed the chief attraction in respect of violin playing. His engagement, however, has now terminated, and a break thus occurring before the recommencement of the concerts after Christinas, we have thought it a suitable opportunity for passing briefly in review the good work these musical Monday evenings have been doing.

"Tho programme of the latest of these performances was devoted to the compositions of various masters. A quartet of Krommcr's, introduced fur the first time at the suggestion of M. Vieuxtemps, opened the concert, and was a very interesting feature of the programme, as the production of an author of whom now so little is known, although to the violin players of thirty years ago his works were familiar enough. Perhaps, however, it was more interesting than attractive. The music is good without dispute, and betokens constructive skill of a very high order j hut there is the something wanting without which it could never take place by the side of Hadyn's fresh and genial inspirations, to which in style it is not dissimilar. The Adagio in E flat major struck us as the pleasantest movement, in which tho subject—which is not without considerable grace and sentiment, and is given to each performer in turn, commencing with the violoncello—affords considerable scope for expressive playing. The Minuet and Trio, and tho final Bondo are pointed and brilliant, and so far were favourable for the display of M. Vieuxtemp's powers; but they do not rise to the level of the great masters.

"Omitting for the present any mention of the singing, we pass on to the most striking feature of the evening—the wonderful performance by Miss Arabella Goddard of Beethoven's latest Sonata, Op. 3, in C minor. To give any idea of this extraordinary work on paper is impossible, and we can do little more than express our admiration of the com position itself, and of the faultless style in which it was executed. The difficulties are of such a nature as to require the very highest powers to make it attractive, or indeed intelligible, and, in fact, put it almost entirely out of the reach of amateurs; but in the hands of Miss Arabella Goddard it becomes one of the most intellectual musical treats we have ever been fortunate enough to enjoy. The enjoyment is much increased to amateurs by the excellent detailed analysis of the work which is given in the programme—a plan which, wc are glad to hear, is to be followed at each concert for the future. Mendelssohn's D minor trio can never fail to charm. Familiar as it is to every connoisseur, there is no composition of the kind we know of which is deservedly so popular. The other instrumental piece was the magnificent Scptuor of Beethoven, given by desire for the second time this season. We cannot leave this work without a word of praise to the admirable clarinet playing of Mr. L izarus, and to Mr. Harper for his execution of the various horn solos, and specially of that notoriously difficult passage in the first trio. In spite of the great length of the composition (which occupies three quarters of an hour), it was listened to throughout with the most [scrupulous attention."

Probtnrial.

At Mr. Halle's last concert in Free Trade Hall, Mozart's G minor symphony, andante from Spohr's Wiehe der T'dne, and the

overtures to Masaniello and Otello were the orchestra pieces — all admirably played by the band, according to The Manchester Guardian. The other instrumental pieces were Beethoven's Quintet in E flat for Pianoforte, Oboe, Clarinet, Horn, and Bassoon — performed by Messrs. Charles Halle, Lavigne, Pollard, Gricben, and Raspi, heard for the first time in Manchester, and, as might be imagined, the beauty of the music and the excellence of the players considered, affording unqualified delight to the audience. The andante, with variations from the same composers. Grand Septet, arranged for the whole orchestra, was, however interesting, in less classical taste. Mr. Halle's pianoforte solos comprised a selection from Stephen Heller's Promenades d'tm Solitaire, and his familiar piece on Schubert's Forelle (Trout), of which performance and the remainder of the concert The Guardian speaks as follows:—

"Mr. Halle's pianoforte solo had the usual reception — enthusiastic plaudits, only to be quelled by an additional performance; and very enthusiastically received also was M. de Jong's elegant flute solo on airs from Lucrezia. Signora Guerrabella, the vocalist of the evening, made her first appearance in Manchester. Her voice is a pure soprano, of extensive range, considerable power, flexible, and evidently cultivated in a high degree. A romanza from fl Trovatore was her best effort, though her performance of Bel Iiaggio, the Bolero from the Vepres Siciliennes, and a ballad from Maritana (" Scenes that are brightest"), each and all proclaimed an artist of more than average talent. We understand she is an American. If so, we hope that brother Jonathan, now good friends with us, will send us a few more equally good singers."

The subjoined account of the opening of a new Music Hall at Birkenhead is from the Liverpool Mercury of the 16th:—

"The opening of the splendid new Music Hall elected at the corner of Claughton Road and Atherton Street, Birkenhead, took place last evening, under most auspicious circumstances. The event was celebrated by a ball, the proceeds of which, through the liberality and spirit of the directors, were appropriated to the funds of the Birkenhead Hospital. The new Music Hall has a frontage to Claughton Road of 42 feet, and to Atherton Street of 112 feet, and has two very imposing appearance. There are four principal entrances — two to Claughton Road, one to Atherton Street, and one for the musicians, officials, &c, — communicating with the different parts of the building. A covered porch, approached by a bold flight of steps, leads to a vestibuio on either side communicating with the entrance hall and grand staircase, the latter consisting of a double flight, elaborately got up, the banisters being of iron, of a beautiful pattern, with the monogram 'B. M. H.' interlaced in the foliage. These lead to the upper hall or ante-room leading to the great hall, which is approached by two magnificent doors, of a great height, richly worked. The great hall, which is decorated in an exceedingly chaste and elegant manner, and is lighted by three sun burners of 63 lights each, is "5 feet long (exclusive of the orchestra), 48 feet wide, and 40 feet in height. The orchestra is raised, and will accommodate 50 of a chorus and 35 musicians, in addition to the pianist and principal singers in front Midway in the entrance hall is a lofty and wide corridor leading to the supper room, which is 48 feet by 30 feet, and of proportionate height. Oa either side of the corridor are

cloak-rooms, each supplied with lavatories, &c. There are four rooms for the accommodation of performers, each being fitted up with every convenience. The exterior of the building is bold, and richly interspersed with carvings in medallions and on the keystones One appropriate feature is that the medallions, &c, are cut with busts of some of the most eminent musical composers — Handel, Mozart, Mendelssohn, Beethoven, and Donizetti being amongst the number. The building is warmed by an apparatus on Dr. Arnott's principle, supplied by Mr. Gibbs, of Lime Street, and the decorations are the work of Mr. Dawson, of this town. The furnishings and upholstery, all of a superior description, were supplied by Messrs. George Woods & Co., of Bold Street. The design of the new building was selected out of 16 competitors, and the architect was restricted to the sum of 4000/., which included the lighting and heating, the decorations, &c. Mr. Walter Scott, of Liverpool and Birkenhead, was the architect, and Mr. John Hogarth, of Rock Ferry, the builder. The ball was a complete success. The company numbered about 400, and included the {lite of Birkenhead and neighbourhood."

From our own Correspondent we learn the following particulars of the Philharmonic Society, and other interesting matters:—

"The annual meeting of this society was held at the Liverpool Cotton Sales Room, Mr. J. B. Branchcr, the chairman of the committee, presiding. Mr. Henry Sudlow, the secretary, read the usual report and statements of accounts. The meeting passed off quietly and pleasantly, and the committee was rc-nppointed."

The Concert Of Tub Orpiian Boys' Asylum was given on Tuesday evening at the Liverpool Philharmonic Hall, under the patronage of the Mayor of Liverpool, with a large number of lady patronesses. The performers consisted of the orphan boys' band, under the direction of Mr. Palgrave Simpson; a considerable portion of the chorus of the Philharmonic Society, conducted by Mr. Herrmann; and the Misses, Master, and Mr. Armstrong, and Mr. Edward Foulkes. Several songs, &c, were sung in good style by the latter vocalists, who were accompanied on the pianoforte by Mr. George Hirst. The part-songs sung by the choir of the society were given in a tasteful and agreeable manner. The most interesting section of the entertainment was the performance of the boys' band, of which we cannot speak in too flattering terms. The precision, spirit, and attention to "light and shade" exhibited were astonishing. The instrumental performance did infinite credit to the little fellows and their instructor, who, in spite of his arduous duties as a partner in one of the principal legal firms of the town, has found time not only to score all the music, but to drill and instruct his juvenile band to a pitch of excellence almost unparalleled. In the course of the evening, four little fellows, none of whom were nine years of age, played a military quartette on side drums, which elicited a perfect hurricane of applause.

BOOSEY AND SONS'

CHRISTMAS PUBLICATIONS.

BOOSEY'S CHRISTMAS ANNUAL of DANCE MUSIC for 1862. Price La. ; or splendidly bound, gilt edges, 2». 6d.

TDOOSEY'S SIX CHRISTMAS or AFTER-DINNER

JD SONGS. Trice Bd.

BOOSEY'S SIX CHRISTMAS CAROLS, for four Voices and Pianoforte. Price 6d.

BOOSEY'S 250 CHANTS, Single and Double. Price 1 .; cloth, gilt edges, 2l.

BOOSEY'S 50 PSALM and HYMN TUNES, for four voices, with the Iter. W. J. H»U'» words. Price Sixpence.

EOOSEY nnd SONS' NEW JUVENILE SERIES. Price One Shilling each, in fancy covers, or Two Shilling* each in extra cloth gilt lcltert and edges ; forming most beautiful and suitable presents for the approaching season.

1. THE GOLDEN WREATH, containing 28Songs, with original Words, adapted to popular melodies.

2. THE JUVENILE PIANOFORTE ALBUM, containing 24.Pieces and Dances by modern composers.

3. THE CLASSICAL PIANOFORTE ALBUM, containing 30 Classical Compositions by the great Masters.

London:

BOOSEY & SONS, Holles Street.

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VOCAL MUSIC.

MAMMA WON'T BRING ME OUT. Sung by Mrs.
G. Reed, composed by T. German Heed (illustrated). Price 3s.
1 NEVER DOES NOTHING AT ALL, Sung by Mrs. G. Reed, composed by T.
German Rbbd (illustrated). Price 3s.
Crahbk, Bbalb and Wood, 201 Regent Street.

THOU TO WHOM MY LOVE IS ALL MY CARE.

Sung by Mr. Walter Bolton, composed by E. Lanh. Price 2s. 6d.
Cramer, Beale and Wood, 201 Regent Street.

RIGHTLY O'ER LAND AND OCEAN. Song.

Words by G. Linley, Music by Verdi. Price 2s. 6d. ONLY FOR THEE. Song. Sung by Mllb. Parepa, Words by G. Linley. Price

2s. 6d.

Cramer, Beale and Wood, 201 Regent Street, W.

I'LL TELL YOU WHY I'D .LIKE TO BE A ROSE.

J- Song. H. Smart. Price 2s. 6d.

TEfcL ME, SWEET ZEPHYR. Song. H. Smart. Price 2s. Gd.
Crambb, Bealr and Wood, 201 Regent Street, W.

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CHAPPELL & CO'S

NEW MUSICAL PUBLICATIONS.

CHAPPELL AND CO.'S NEW MUSICAL ALBUMS.

In volumes, beautifully bound in various coloured cloths, with gold letters and gilt edges, price 4s. each.

CHAPPELL'S ENGLISH BALLAD ALBUM,

Containing 36 Songs by B.illc, Wallace, Barker, Glover, Linley, Lover, Walter Maynard, and other popular Composers, all with Pianoforte Accompaniments.

Price 4s. bound and gilt edges.

In this Album will be found many of the most popular Ballads of these favourite composers.

CHAPPELL'S FIRST ALBUM DE DANSE

For the Pianoforte j containing 10 sets Quadrilles, 50 Valses, 40 Polkas, chiefly by Charles D'Albert.

Price 4s. bound, with gilt edges.

CHAPPELL'S SECOND ALBUM DE DANSE

For the Pianoforte ; containing Quadrilles, Valses, Polkas, Galops, Schottisches, Varsovianas, Polkas, Mazurkas, Redowas, and French Country Dances.

Price 4s. bound, with gilt edges.

N B The two Albums de Danse comprise a complete collection of

all Music requisite for the Ball-room.

CHAPPELL'S CHRISTY MINSTREL ALBUM,

Containing 52 Songs, with Choruses and Pianoforte Accompaniment.

N.B.—This collection alone contains various popular Songs, including "I'm leaving thee in sorrow, Annie," " Friends of my Youth," '■ I'm returning to thee, Annie," " Rosaline," &c.

Price 4s. bound, with gilt edges.

CHAPPELL'S SACRED VOCAL ALBUM

Contains 36 Songs and Duets, by Handel, Barnett, Glover, the Hon Mrs. Norton, Smart, Abt, Moore, Marcello, &c.

Price 4s. bound, with gilt edges.

CHAPPELL'S ITALIAN SONG BOOK,

Containing 32 Italian and German Songs, by Verdi, Mozart, Flotow, Schubert, &c, all with English as well as the original Words, and Pianoforte Accompaniments.

Price 4s. bound, with gilt edges.

LONDON:

CHAPPELL AND CO., 50 NEW BOND STREET.

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