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The New and Successful Operetta, written by J. P. WOOLER, Esq., the Music composed by W. M. LUTZ. Now performing at the New Royalty Operetta House. The following are some of the most popular Songs and Ballads, all of which have been most favourably noticed by the Press :MERRY LITTLE MAUD. Song. Tenor ... 2 6 'TIS GONE, THE HOPE THAT ONCE DID BEAM. Ballad. Soprano 2 6 HURRAH! FOR THE CHASE. Hunting Song. Baritone or Bass 3 0 AS I LAY UNDER THE LINDEN TREE. Serenade. Tenor 2 G LOVE'S BRIGHTEST DREAM. Soprano

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THE BELLE OF BALLINGARRY. Irish Song. Soprano
HOW OFT UNKINDLY THUS WE CHIDE.
SWEET MAIDEN MINE. Ballad. Tenor

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Baritone or Bass ...

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FFARWEL Y TELYNOR I'W ENEDI.

910

(The Bells of Aberdovey). (The Joy of the Mead-cup). (March of the Men of Harlech).

(Megan's Daughter).

(New Year's Eve),

(The Blackbird).

(The Rising of the Sun).

(David of the White Rock).

(Black Sir Harry).

(Watching the Wheat).

(Lady Owen's Delight).

(Over the Stone).

(The Inspired Bard).

(The Minstrel's Adieu to his native Land).

Complete in Two Volumes, price one guinea each.

And the separate numbers, either as song, or quartet, price two shillings each. The Harmonized Voice-parts, published separately, for the convenienc of Choral Societies, price Threepence per page. Also Welsh Melodies for the Harp, by JOHN THOMAS, in Two Volumes, price 21s. each, or in separate numbers, 2s. 6d. and 3s. each.

LONDON: ADDISON, HOLLIER & LUCAS, 210 REGENT STREET.

NEW AND REVISED EDITION.
Price 128.'

THE VOICE AND SINGING.

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GOLL

Price 3s.

ASHDOWN & PARRY, 18 Hanover Square.

OLLMICK. ELFIN REVELS.
ASHDOWN & PARRY, 18 Hanover Square.

OLLMICK.

Go

Price 4s.

DIANA.

Price 3s.

Grand Galop de Concert.

ASHDOWN & PARRY, 18 Hanover Square.

E. M. LOTT.-SEMERAMIDE. Fantasia on Rossini's

Opera. Price 4s.

ASHDOWN & PARRY, 18 Hanover Square.

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4. Ten Songs, by Mozart, with Italian and English Words.

5. Twelve Sacred Songs, by John Barnett, George Barker, the Hon. Mrs. Norton,

Charles Glover, &c.

6. Twelve Songs, by Handel. Edited by G. A. Macfarren.

7. Ten Sets of Quadrilles, by Charles D'Albert, &c.

8. Forty Polkas, by Charles D'Albert, Jullien, Koenig, &c.

9. Fifty Valses, by D'Albert, Gung'l, Lanner, Strauss, Labitzky, &c.

10. Nine Pianoforte Pieces, by Brinley Richards.

11. Six Pianoforte Pieces, by Wallace.

12. Beethoven's Sonatas. Edited by Charles Hallé (No. 1). Containing Sonatas Nos. 1 and 2 of Op. 2, complete.

13. Twelve Popular Duets for Soprano and Contralto Voices.

14. Ten Songs, by Schubert.

15. Eighteen of Moore's Irish Melodies.

16. Twelve Sacred Duets.

17. Nine Pianoforte Pieces, by Osborne and Lindahl.

18. Twelve Songs, by Verdi and Flotow.

19. Favourite Airs from the Messiah. Arranged for the Pianoforte.
20. Beethoven's Sonatas. Edited by Charles Hallé (No. 2).
No. 3 of Op. 2, and Sonata Op. 7, complete.

21. Nine Pianoforte Pieces, by Ascher and Goria.

22. Twenty-one Christy and Buckley Minstrel Melodies.
23. Twenty-five Juvenile Pieces for the Pianoforte.

24. Thirteen Popular Songs, by the most popular Composers.

25. Sims Reeves' Popular Songs.

26. D'Albert's Galops, Mazurkas, &c.

27. Five Sets of Quadrilles as Duets, by Charles D'Albert.

Containing Sonata

28. Beethoven Sonatas. Edited by Charles Hallé (No. 3). Containing the Sonatas Nos. 1 and 2 of Op. 10.

29. Ten Contralto Songs, by Mrs. Arkwright, Hon. Mrs. Norton, &c.

30. Beethoven Sonatas. Edited by Charles Hallé (No. 4). Containing the Sonata No. 3 of Op. 10, and the Sonata Pathétique.

31. Beethoven's Sonatas. Edited by Charles Hallé (No. 5). Containing Sonatas Nos. 1 and 2 of Op. 14.

32. Beethoven's Sonatas. Edited by Charles Hallé (No. 6). Containing Sonata Op. 22, and Sonata Op. 26, with the celebrated Funeral March.

33. Juvenile Vocal Album, containing Songs, Duets, and Trios.

34. Christmas Album of Dance Music, consisting of Quadrilles, Valses, Polkas, and Galops.

H. W. GOODBAN. THE GIRLS' AND BOYS' 35. Vocal Christy Minstrel Album. A New Selection.

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HAROLD THOMAS.-NOCTURNE on the Air CHAPPELL'S NEW MUSICAL ALBUMS,

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CHAPPELL'S ENGLISH BALLAD ALBUM; containing 36 Songs by Balfe, Wallace, Barker, Glover, Linley, Lover, and other Popular Composers, all with Pianoforte Accompaniments. Price 4s., bound and gilt edges.

CHAPPELL'S ALBUM DE DANSE for the Pianoforte; containing 10 Sets of 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, Polka Mazurkas, Redowas, and French Country Dances, by Charles D'Albert, &c. Price 4s., bound with gilt edges.

The Two Albums de Danse comprise a complete collection of all music requisite to the Ballroom.

CHAPPELL'S CHRISTY MINSTREL ALBUM; containing 52 Songs, with Choruses and Pianoforte Accompaniments, 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 & CO., 49 & 50 NEW BOND STREET, W.

Printed by GEORGE ANDREW SPOTTISWOODE, of No. 12 James Street, Buckingham Gate, in the Parish of St. Margaret, in the City of Westminster, at No. 5 New-street Square, in the Parish of St. Bride, in the City of London. Published by JOHN BOOSEY, at the Office of BoosEY & SONS, 28 Holles Street.-Saturday, July 5, 1862.

"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES" - Göthe.

SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM

Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.

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NEW COMPOSITIONS,

Production of a New Oratorio by JOSEPH RUDolph Schachner,"
WEDNESDAY EVENING, July 30,

In BEHALF of the BRITISH COLUMBIA FEMALE EMIGRATION SOCIETY.

of the above Society beg to announce

AS PERFORMED AT HIS CONCERTS IN LONDON. THE Commit ORATORIO will be produced at EXETER HALL, on

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WEDNESDAY EVENING, July 30, entitled, "ISRAEL'S RETURN FROM
BABYLON," in four parts:-

J. Captivity; 2. Deliverance; 3. Reconciliation and Return to Zion; 4. Promise,
and Song of Praise.
Composed by JOSEPH RUDOLPH Schachner.
Principal vocal parts by Mile, TITIENS, Mad. LAURA BAXTER, Mr. W, WEISS,
and Mr. SIMS REEVES; with a Chorus of 400 voices, and a Band of the most eminent
professors.
Conductor: Mr. ALFRED MELLON.

The entire proceeds of this performance will be given to the above Society. Reserved and Numbered Seats, 21s.; West Gallery and Side Seats, Area, 10s. 6d. ; unreserved Seats, 5s., which may be obtained at Mr. MITCHELL's Royal Library, 33 Old Bond Street.

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PHI

HILHARMONIC SOCIETY. — JUBILEE
CONCERT, St. James's Hall, Monday Evening, July 14, at Eight o'clock.
The Directors have the gratification to announce that Mad. LIND-GOLDSCHMIDT and
Mile. TITIENS have kindly consented to sing, assisted by Mr. SANTLEY, Mrs. ANDERSON
(Pianoforte) her last public performance- Herr JOACHIM (Violin), and Signor
PIATTI (Violoncello). Conductor, Professor W. S. BENNETT, Mus. D., who has
composed an overture expressly for this occasion. Full orchestra and chorus.
Stalls, Balcony, or Area, 21s.

manner, invaluable to Pianists who believe that the instrument of their MR

choice can, under skilful management, emulate the violin itself in the delivery of cantabile passages."—The Times.

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SIMS

ADDISON, HOLLIER & Lucas, 210 Regent Street, W.

R. TENNANT will sing "A YOUNG AND ARTLESS MAIDEN," from HOWARD GLOVER'S popular Operetta of "ONCE TOO OFTEN," at the Concert of the Metropolitan Free Drinking Fountain Association, Exeter Hall, July 16.

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AST and Repairer in Town of Country. a ploy manoforte

Age 25. Salary Moderate. Direct, W.T.G., 2 Castle Square, Brighton.

IMS REEVES' NEW SONG, "She may smile on success. Encored on every occasion. BY HOWARD GLOVER. Sung by Mr. SIMS REEVES with unprecedented AN ASSISTANT WANTED, in a Music Warehouse.

many."

BOOSEY & SONS, Holles Street.

OZART'S DON JUAN.

MOZA

98.

BOOSEY & SONS'

New Edition, complete, for Voice and Pianoforte, with English and Italian words. The whole of the Recitatives and Notes of the Author's Instrumentation. Price 9s. In cloth (400 pages).

Also Figaro, 9s.

This splendid Edition, the best and cheapest ever published, of Mozart's great work, should be in the hands of every professor of music. Zauberflöte, 59.

BOOSEY & SONS, Holles Street.

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No. 28

MUSIC

WORL

THE MUTUAL LIFE ASSURANCE SOCIETY THE AIRS, BALLADS, FANTASIAS, QUADRILLES,

(A. D. 1834), 39 King Street, Cheapside, E.C., London.

· On January 1, 1862, Capital, from Premiums alone, £403,165.

Income upwards of £68,000. Assurances £1,634,755.

Bonuses average more than 2 per cent. per annum on sum assured.
Profits divided yearly, and begin on second premium.
Every Member can attend and vote at all general meetings.

Last Annual Report and Accounts may be had.

CHARLES INGALL, Actuary.

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WALTZES, &c. IN THE OPERETTA OF “ONCE TOO OFTEN.”

COMPOSED BY HOWARD GLOVER.

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4s. 6d. 2s. 6d.

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2s. Ud. 3s. Od.

"The Love you've slighted." Ballad. Sung by Mlle. JENNY BAUR ... "Stratagem is Woman's Power." Ballad. Sung by Miss EMMA HEYWOOD "Love is a gentle Thing." Ballad. Sung by Miss EMMA HEYWOOD "A Young and Artless Maiden." Romance. Sung by Herr REICHARDT "There's Truth in Woman still." Romance. Sung by Herr REICHARDT "The Monks were Jolly Boys." Ballad. Sung by Herr FORMES "In my Chateau of Pompernik," Aria Buffa. Sung by Herr FORMES

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The

"Mr. Glover's operetta is a decided, and, what is better, a legitimate, 'hit.' songs before us have already attained a well-merited popularity. The monks were jolly boys" is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Formes. The love you've slighted still is true' (for Mile. Jenny Baur) has a melody of charming freshness. Not less a model ballad in its way is A young and artless maiden' (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are, is 'Love is a gentle thing' (for Miss Emma Haywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils." - Musical World. London: DUNCAN DAVISON & Co., 244 Regent Street, W.

MEYERBEER.

THEE ONLY I LOVE. Song. By FRANZ ABT. Sung THE FOLLOWING COMPOSITIONS, by this eminent

Poetry by GEORGE LINLEY. Price 2s. 6d.

"The favourite prima donna sang as if herself delighted with her subject, and the enthusiastic call for a repetition was not to be resisted."

London: ROBERT COCKS & Co., New Burlington Street, where the Hanover Square Rooms may be engaged on all occasions.

BLUMENTHAL'S "DAYS THAT ARE NO MORE,'

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transcribed for Piano and played with such distinguished success by the composer at his Concert at the Marchioness of Downshire's residence, Belgrave Square, is published, price 3s., by DUNCAN DAVISON & Co., 244 Regent Street, W.; where the song (sung by Mad. SAINTON-DOLBY) may also be obtained, price 38.

M. W. BALFE'S NEW CANTATA "MAZEPPA"

will be published the morning after its first performance, which will take place on the occasion of Mr. SIMS REEVES' BENEFIT, at Exeter Hall, on July 23. CRAMER, BEALE & WOOD, 201 Regent Street, W.

SIGNOR SCHIRA'S NEW OPERA "NICOLO DE

LAPI," will be published the day after its first performance at Her Majesty's
CRAMER, BEALE & WOOD, 201 Regent Street, W.

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Published by DUNCAN DAVISON & Co., 244 Regent Street, W.

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ARANTELLA, by WALTER MACFARREN, played by the Composer with distinguished success, is published, price 4s., by DUNCAN DAVISON & Co., 244 Regent Street, W.

CR

RADLE SONG, by REICHARDT.-"Good Night (Cradle Song), sung by Herr REICHARDT, and always rapturously encored, is published, price 3s., by DUNCAN DAVISON & Co., 244 Regent Street, W..

TEW SONG by EDWARD LAND, "MINE, LOVE? Sung by Mr. WALTER BOLTON with great success at Mr. ARTHUR NAPOLEON'S

YES OR NO,"

NEW
MATINEE, is published, price 35., by DUNCAN DAVISON & CO., 244 Regent Street, W.
ASCHER'S New Solo, "ALICE,” Played by

the

Composer with such distinguished Success, is published, price 4s., by DUNCAN DAVISON & Co., 244 Regent Street, W.

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THE THIRTY-NINTH MUSICAL FESTIVAL OF THE philosophy and metaphysics have borne everywhere ideas which move

LOWER RHINE.*

(From the Neiderrheinische Musik-Zeitung.)

On the 8th, 9th, and 10th June, the Musical Association of the Lower Rhine celebrated their Thirty-ninth Festival, the conductor being Herr Ferdinand Hiller, and the performers Mad. Louise Dustman, Imperial and Royal chamber-singer, Vienna; Mlle. Gertrude von Conraths, Cologne; Mlle. Francisca Schreck, solo singer, Bonn; Herr Carl Schneider, of the Ducal Theatre, Wiesbaden; Herr Carl Becker, Grand Ducal Hessian chamber-singer, Darmstadt; Herr Carl Hill, solo singer, Frankfort-on-the-Maine; Herr Franz Weber, Cathedral organist and Royal music-director, Cologne; as well as several other artists and amateurs from Aix-la-Chapelle, Boun, Barmen, Brunswick, Brussels, Coblentz, Düsseldorf, Elberfeld, Essen, Frankfort-on-the-Maine, Cologne, Meinigen, Oldenburg, Paris, Treves, Wesel, &c. The programmes were as follows:

Sunday, June 8.- Solomon, oratorio, by G. F. Handel, according to the original score for double chorus, solos, orchestra, and organ (the organ part by Mendelssohn). Monday, June 9.-First Part: 1. "Sanctus" and "Hosannah," from the High Mass, in B minor, for six-part and double chorus, orchestra, and organ, by J. Seb. Bach; 2. Overtures and Scenes from the opera of Iphigenie in Aulis, by Gluck.Second Part: 3. Symphony, No. 9, with final chorus, on Schiller's Ode, "An die Freude," by L. von Beethoven.

Tuesday, June 10.-First Part: 1. Symphony, in D major, by Haydn; 2. Concert-Aria, by Mozart, sung by Herr C. Schneider: 3. "Die Nacht," hymn, by M. Hartman, for chorus, vocal solos, and orchestra, composed by Ferdinand Hiller (first time); 4. Overture to Genoveva, by Robert Schumann.-Second Part: 5. Chorus from Solomon, by Handel; 6. Pianoforte-Concerto, in D major, by W. A. Mozart, performed by Ferdinand Hiller; 7. Air from Jessonda, by L. Spohr, sung by Mad. Dustman; 8. Overture to Ruy Blas, by F. Mendelssohn-Bartholdy; and 9. Chorus from Solomon, by Handel.

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The programmes of the ten preceding festivals in Cologne prove that those gentlemen who have been entrusted with their arrangement, while adhering to the original plan of devoting their attention chiefly to the productions of the old masters, have done full justice to the efforts of those among their respective contemporaries, whose creations, in form and spirit, follow most closely the models of their great predecessors in art. While Handel has been the prominent feature at these Festivals - by the 100th Psalm (twice), Samson, Solomon, the Psalm “O, preis' den Herrn," Joshua, Jephtha, and the Messiah, J. S. Bach has been represented by his "Himmelfahrts-Cantata," and the "Credo," from the Mass in B minor; Naumann, by his "Vater unser;" Gluck, by scenes from Armida; Haydn, by The Seasons; Mozart, by two Symphonies; Beethoven, by his two Masses in C and D, the "Preis der Tonkunst" ("Der glorreiche Augenblick"), and the Symphonies Nos. 5, 6, 7 (twice), 8, and 9; the following works of contemporary composers have been performed, mostly under their personal direction:Das Weltgericht, Die Sündfluth, the 24th Psalm, by Frederick Schneider; the 103rd Psalm, by Fesca; Jephtha and David, by Bernhard Klein, of Cologne; the Mass in C and Hymns, by Cherubini; the second act of Olympia, by Spontini; the 114 Psalm and "Die Walpurgisnacht," by Mendelssohn; and Saul, by Ferdinand Hiller.

Although the works of modern composers have occupied an honourable place in the festival at Cologne, as well as in these festivals generally, it is an indisputable fact that what attracts the great majority of the audience is the performance of those masterworks, the monumental grandeur of which towers proudly from the Past on to the Present and the Future, while the interest evinced by the public, and which has gone on increasing since the revival of the festival in 1851, after its discontinuance for three years, affords a gratifying proof of the flourishing condition, on the banks of the Rhine, of artistic life in its noblest tendencies towards the highest branches of music, the Oratorio and the Symphony. For this reason, at this year's festival, as at those preceding it, the names of Handel, J. S. Bach, Gluck, and Beethoven, shone in the programmes of the first and second days. Even the third day was adorned by Haydn and Mozart, the former contributing a symphony, and the latter a pianoforte-concerto and aria; after these came Mendelssohn and Schumann with overtures, and Ferdinand Hiller with a new vocal production, composed for the occasion. That the works of German masters alone should have been selected for the festival, despite the important interest such a gathering must possess for musical art generally, is a fact which requires, probably, no justification. But, apart from the circumstance that in the branches of composition under consideration, no other country can show productions of equal compass and importance, the objections which might be raised in that cosmopolitan view of things, to be adopted, as some persons urge, by music, must fall to the ground, for, in order to work on the interests of the ideal ends of humanity, neither science nor art has any need to deny its nationality. Just as German

* Translated expressly for the MUSICAL WORLD.

the world, Haydn, Mozart and Beethoven have conquered all countries for German music, and, while, working retrospectively, on the one hand, they facilitated the revival of the works written by their great predecessors,, Bach and Handel; on the other, they prepared and levelled the way for their successors, Weber and Mendelssohn. Thus German music has become the music of the world, and every German musical festival is a tribute paid to the musical art of all nations.

Handel's oratorio of Solomon was the attraction on the first day of the festival. The vocal and instrumental artists were, both in number and professional merit, so excellent; the preparatory practice and general rehearsals had been so zealously and perseveringly attended; and while the mode in which the performance was conducted by Ferdinand Hiller displayed such certainty and energy, and was so admirable a result of his remarkable talent for seizing on and imparting to others the true spirit of great classical works, that, among the whole of the numerous audience assembled on the occasion, there was but one opinion, expressed in the most unmistakeable and enthusiastic manner : "This is one of the greatest and most welcome performances ever heard." From the practically, and, at the same time, architecturally beautiful manner in which the members of the chorus and those of the orchestra were arranged, they formed a magnificent spectacle.

The chorus comprised 163 sopranos, 135 contraltos, 102 tenors, and 169 basses, making a total of 569 voices. To these, the other towns of the Lower Rhine contributed 51 sopranos, 45 contraltos, 36 tenors, and 60 basses, making a total of 192 voices. The remaining 377 constituted the nucleus furnished by Cologne. The orchestra was composed of 53 violins, 20 tenors, 20 violoncellos, and 14 double basses. The excellence of these 107 instrumentalists, and the almost unexceptionably admirable quality of their instruments, formed a stringed quartet never equalled, probably, for the combination of fulness of tone and manual excellence. Besides the distinguished members of the Cologne orchestra, under the guidance of Herren Grunwald and Von Königslow, we remarked among the visitors, as violinists, Herren Leopold Auer, of Pesth; Bargheer, of Detmold; Bender, of Dusseldorf; Engel, of Oldenburg; Fleischhauer, of Aix-la-Chapelle; Müller, of Meinigen (the whole quartet of the Brothers Müller took part in the performance, by the way); Seiss, of Barmen; Schollmayer, of Düren; Spanke, of Paderborn, &c. Tenors: De Bas, of Brussels; Köchner, of Düsseldorf; Kugler, of Coblentz; Paulus, of Rotterdam; Posse, of Elberfeld; Reimers, of Bonn; Sperr, of Aix-la-Chapelle; Wolf, of Crefeld, &c. — As violoncellists: Forberg, of Düsseldorf; Geul, of Dortrecht; Goltermann, of Stuttgart; E. Helfer, of Essen; Müller, of Meinigen; Müller, of Paris; Schmit, of Prague; Jäger, of Elberfeldt; P. Müller, of Aix-la-Chapelle, &c. - As double bassists: Professor Bernier, of Brussels; Simon, of Sonderhausen, &c. The wood wind instruments were doubled: 4 flutes, &c., but there were only 4 horns, 3 trumpets, 3 trombones, and 1 tuba, so that the balance of tone was admirably preserved between the stringed quartet and the brass, the latter not predominating in the least; the wood wind instruments, too, in those passages where the harmony assigned them played a prominent part, were highly effective, but scarcely penetrated sufficiently through the mass of stringed instruments in the fortissimo

of the tuttio.

To all these we must add the principal instrument, the organ, especially built for the festival by Ibach and Sons, of Barmen, and placed in the broad gallery above the back rows of musicians and members of the chorus. It was played, with a masterly command over the various stops, by Herr Franz Weber. The builder had been allowed only a short time to build and erect the instrument, and yet he has produced an organ which, by the volume of sound in the full organ work, as well as by the soft stops for accompanying the vocal solos, made the most edifying and profound impression, imparting to the whole performance such a character of sacredness, and, in many passages, so peculiar a character to the orchestra, that the hearer felt transported into an art atmosphere- so to speak - quite different from that to which he is accustomed at ordinary concerts. The combination of the tones of the organ with the mighty chorus, and the powerful stringed quartet was so perfect, that one mass of blended sound was produced. It made a wonderfully profound impression, which could only with great difficulty be traced back to the several instruments which were thus working together.

And yet this organ has not more than one and twenty stops, twelve in the manual, and nine in the pedal. The following is its arrangement:

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