mothers, and Solomon's wise settlement of their dispute about the child-is merely an episode. The whole subject turns on the glorification of Solomon in his power, justice, and magnificence; while even the Queen of Sheba is introduced, rather naïvely, in the last part, for the sole purpose of admiring the temple in Salem, and the choral songs at the court of the ruler over Israel. Solomon is therefore, with the exception of the above-mentioned episode, a purely lyrical and purely musical work. The less action there is in it, the more music -and music for its own sake only-does it contain; indeed, we are inclined to believe that the hand of Handel-of Handel the musician-may have had a share in the arrangement of the book, because we perceive in the latter skilfully managed opportunities for imparting to the expression of the various feelings and sentiments a varied and changing character, as well as a colouring which conceals the uniformity of the subject under the lively musical tints with which it is overspread. To this we must probably attribute, generally despite, perhaps, less profundity and less profusion of polyphonic treasures than in his other works- -a more easily intelligible treatment, and an intentional leaning towards a really popular character in the choruses. This character is especially apparent in the graceful and gentle choruses; while, for instance, in the first three choral pieces of the First Part, in the opening chorus of the Second, and the last but one of the Third, &c,, the pinions of Handel's genius carry him, despite his sixty-three years, to as great a height as in his other works.

The solos are exceedingly worthy of notice. They are not written in the bravura style, which Handel adopted for many pieces in other works of his, in compliance with the taste of his time. With the exception of two airs for the tenor parts, to sing which he had most probably some first-rate Italian artist-the third air is magnificent-the solo pieces, by their melodic simplicity, are excellently adapted to the character of the feelings to be represented. Thus, for instance, the part of Solomon is treated throughout with great elevation, and a total absence of unnecessary ornament. The difference in the character of the two female disputants is marked, musically, with consummate skill, the air of the real mother, "How can I see my infant gored?" being a perfect gem, and worthy of a place among the most beautiful things Handel ever wrote.

An account of the execution and reception of Solomon at the Cologne Festival will be found in another column.

but I think the point is set at rest by the parallel passage— fifty-sixth bar from the end of the movement :

If Beethoven had intended the F's in the first quotation to be natural, he would have made the G's (**) flat. But in no edition that I know of are they flat. I, therefore, think the logic is in favour of my edition.

This is worth the consideration even of Mad. Arabella

Goddard, who adopts the ordinary version, "Cæsar's wife" being naturally looked up to as an authority in such matters.

SIR,

P.

To the Editor of the MUSICAL WORLD. IR,—The President and the Members of the Committee at Turin, representing the National Philanthropic Association of the Italian Ladies, have heard with joy and thankfulness of the brilliant concert, given in London on the 18th of June, for the benefit of their schools in Southern Italy. Will you allow us, in your excellent paper, to acknowledge our gratitude, not only to the Italian artists who generously took the initiative, but to all the ladies and gentlemen whose exquisite talent and great power secured the success, and whose names are too familiar to the public to need repetition.

We also beg to express our obligation to Mr. Mapleson, the proprietor of Her Majesty's Theatre, for his liberality in granting permission to the artists under engagement to him to give their valuable cooperation in behalf of our schools, With heartfelt thanks to the generous supporters of our work, which aims at the improvement of the moral and physical condition of the children of the poor in our Peninsula, and to you, Sir, as the kind interpreter of our gratitude, we remain faithfully yours,

In the absence of the President, the Vice-President,
DM. DI BEVILACQUA LA Mataz.
Secretary.

To the Editor of the MUSICAL World.

SOME years ago—it was, if I mistake not, in the year 1846, or thereaboutsa wide-spread panic prevailed among all the old women in Germany, and especially that portion of it which includes Austria, where, by the way, the great majority of the population consists of old women, if we take into account those of the male as well as the female sex. This panic was caused by a belief that the world was to come to an end on a certain day, which day some Teutonic Dr. Cumming had formally announced, with all the pompous

self-sufficiency, and the same amount of correctness, as his Anglo-Scottish prototype is accustomed to display in his highly valuable and if we only consent to forget the trifling fact that they are never fulfilled-accurate prophecies. Amid the general terror one man was calm, self-possessed and cheerful. That man was the late and well-known Dr. Saphir, who, on being asked how he could display such indifference at such an epoch, replied, because he resided at Vienna, where he had nothing to dread from the approaching catastrophe, the Austrian capital being always "a hundred years behind the rest of the world."

Things have not changed since the time to which I refer, and it is to this circumstance that you must attribute my apparent neglect in not writing more frequently. There is really nothing in the way of novelty to write about. What is new to us is already old for you, and, consequently, any remarks of mine would not prove particularly interesting. You, of course, recollect Mrs. Glasse's celebrated recipe "how to cook a hare?" "First catch your hare!" observes that distinguished matron, with a depth of wisdom and a majestic simplicity of diction worthy the great philosophers of ancient times. Again, as bearing upon my case, I may recall to your remembrance Oliver Goldsmith's assertion that the French would be excellent cooks if they had anything to cook. I should be a first-rate correspondent, take my word for it, if I had anything to correspond about.

of

I

Having taken the preliminary canter-speaking, course, hyperbolically, as Mrs. Malaprop would say now fairly start; having tuned my instrument, I commence the symphony, though not, by the way, before I have ushered it in by an anecdotal phrase or two, as a sort of Einleitung. "Doctor," said a lady once to a celebrated professor of phrenology, "which is my bump of poetry?" "Your bump of poetry, Madame," replied the Professor, "is that cavity." The object of my communication is principally to tell you what is being done at the Imperial Opera House, and so I set about fulfilling that object by stating that nothing at all is being done there. The doors of that establishment have closed for a month, and might, I think, be closed for double that period, the mere thought of operatic performances here in the month of July being something overpowering. But-it is asserted-to close both Imperial theatres simultaneously would be a grave injustice to the many strangers who come to Vienna about this period. So be it; I bow my head meekly to this argument; but I cannot help fancying that money considerations, also, have something to do with the matter. Having thus brought you to the Opera House, to show you that the doors are closed, the lamps not lighted, and nothing going on, in order that you may be made acquainted in as few words as possible with what has been doing during the past operatic year, I enclose herewith a free translation of an article which has recently appeared in one of the leading musical journals-Die Recensionen, to wit— or, at least, as much of the article as, in my opinion, is likely to interest the readers of the MUSICAL WORLD.*

Vienna, July 5.

A. A. A.

In his account of the International Exhibition in London, M. Hartmann, special correspondent of the Cologne Gazette (Kölnische Zeitung), says, among other things:

"I will now touch upon another subject which must prove highly

*The article to which "A.A.A." alludes will be found in another column.

attractive for foreigners, especially Germans. I allude to the Grand Handel Festival at the Crystal Palace, Sydenham. I will not make myself has been represented to me as the beau ideal of such a gathering, as to ridiculous, after the Musical Festival just held at Cologne, and which write on Handel, especially to the musical capital of the Lower Rhine but still I may observe that on the first of the three days, when the Messiah was performed by four thousand musicians and singers in the fairy-like edifice at Sydenham, the spectacle was something extraordinary, something grand, and not to be equalled, perhaps, in the world. Oh! what an effect was that produced, when the thousands of voices were singing the mighty choruses, accompanied by the magnificent orchestra, and by the organ, one of the largest ever built! The fact of sixteen thousand persons being present went for nothing. People say this was because they were naturally lost in so large a building; but I believe sing and hear such choruses. The solos sounded most peculiarly; that it was because there ought to be myriads - entire nations - to being, to a certain extent, lost, as it were, like the audience, in so vast a space, they appeared to come from some immeasurable distance - from where the belief, the ecstacy, the jubilating joy of Handel's music are at home like voices wafted from another world, and forcing their way through the fogs of earth.

orchestra, which is surmounted by an enormous dome, many, very many, "There was only one thing which produced a bad effect. Before the statues―a Venus, a Cupid, a Psyche, a Diana, and a whole bevy of Nymphs, all antique, and most of them nude-were placed by way of ornament. This formed a violent contrast to that World which the audience, looking over the gods and goddesses, heard, with their souls, fully annoying arrangement. in the orchestra beyond. This was an unartistic, ill-advised, and painWho does not love the Gods of the Greeks ?-but who would wish to behold a nymph while he is listening to the strains of O Du, der gute Zeitung bringst nach Zion?'* What different worlds are thus cruelly linked together! By the way, it showed, also, a want of judgment to select the Græco-Roman style for the decoration of the dome, since it is mostly German music, and more especially Handel's, which is performed underneath; there is not one of our arts possessing so little affinity with the antique world as our music. "In the way of concerts, I will mention merely the ninety-ninth Monday Popular Concert,' in St. James's Hall, as one of the most interesting description. It was for the benefit of Ernst, the great violinist, and afforded an opportunity for the performance of his latest work, a Grand Quartet, with his well-known "Elegy,", and some of the "Pensées Fugitives." The Quartet is full of fancy and gracefulness, and is regarded as a masterpiece with respect to the way in which it is worked out. That it was played in a manner worthy Ernst and itself is guaranteed by the names of Joachim, Laub, Molique, and Piatti. It is seldom that we meet with such a combination. The composition and executants were enthusiastically received, as was, also, our dear old acquaintance the "Elegy," which Joachim rendered with an amount of warmth, devotion, and feeling that must have caused not only the ears, but also the heart, of the sick composer at Nice to have tingled elegiacally. May he soon recover, and enjoy that love which has been that he is suffering, and that the world will be deprived of his talent! everywhere re-awakened, among artists and public, since it was known It was a particularly touching and elevated frame of mind which animated artists and audience at this concert-one which bore eloquent testimony to the closeness of the bonds which genuine artists, genuinely respected, can twine around the souls of thousands both far and near.”

BOTTESINI. This celebrated instrumentalist is giving summer concerts à la Jullien, in Naples. His opera lately produced at the San Carlo Theatre has had immense success.

M. VIVIER has returned to Paris.

CONSERVATIVE LAND SOCIETY.-At a meeting of members of the Conservative Land Society, held at the Whittington Club House, London, on June 13, 1862, Robert Nicholas Fowler, Esq., in the chair; it was resolved-"That the long, zealous, and valuable services of Chas. Lewis Gruneisen, Esq., as Secretary of the Conservative Land Society, and his kindly readiness at all times to promote the interests of the shareholders, collectively and individually, coupled with the present prosperous state of the society, afford an opportunity of presenting him with some special mark of the general approval and esteem in which he is held by the members." A committee was formed to open a subscription list, and address a circular to the patrons, members, allottees, and agents of the society resident throughout the country, affording them an opportunity to contribute towards a testimonial to Mr. Gruneisen. It was also resolved-"In order that all classes of shareholders may be enabled to join in such a mark of respect to the secretary, that the subscription of each individual be 2s. 6d. ; but any one desiring to increase that amount, may do so by way of special donation." A general meeting of subscribers will, in due course, be summoned by public advertisement, to consider the form of testimonial, and mode of presentation. In the name of the musical profession, we may safely add, that never was testimonial more legitimately due.

THE INTERNATIONAL EXHIBITION. The building was better attended on Thursday than it has been any day in the week. The total number admitted up to 5 o'clock was 66,213, of which 57,738 were by shilling payments, and 8,475 by season tickets. One great source of the attraction was evidently the two bands sent by the Emperor of the French. That of the Zouaves played under the

Western Dome, and that of the Gendarmerie under the Eastern. Celebrated as these bands are, their performances surpassed even what was expected of them. The tone of the instruments, and the precision of the playing, were beyond praise, and from 1 to 4 o'clock they held an audience of some 30,000 people in rapt attention

NATIONAL CHORAL SOCIETY. The National Choral Society will give an open air choral performance in the grounds of the Royal Horticultural Society, South Kensington, to-morrow (Saturday) afternoon. The choir will number 1,000 voices, and will be under the direction of Mr. G. W. Martin. The success of the National Choral Society's singing at the Society of Arts' conversazione on Wednesday, at the South Kensington Museum, has much increased the interest taken in the proposed open air performance.

The Operas.

HER MAJESTY'S THEATRE.

On Saturday Robert le diable was repeated.

On Tuesday, Lucrezia Borgia, with the new ballet-divertissement, Le Reveil de Flore, in which Mlle. Katinka Friedberg, Mr. Mapleson's new danseuse, eminently distinguished herself in several brilliant pas composed for her expressly by M. Pettit.

On Wednesday Don Giovanni, Mlle. Carlotta Marchisio sustaining the part of Donna Anna for the first time, with infinite credit, be it said, despite the overwhelming recollections of Mlle. Titiens.

The Trovatore on Thursday, with the Reveil de Flore. Norma will be given to-night, for the first time this season, with Mlle. Titiens, of course, in her celebrated part of the High Priestess, Mlle. Norden, her first appearance as Adalgisa, Sig. Armandi as Pollio, and Sig. Vialetti as Araveso.

On Tuesday-the last night of the subscription-the Nozze di Figaro will be produced with the following cast:-The Countess, Mlle. Titiens; Susanna, Miss Louisa Pyne; Cherubino, Mlle. Trebelli; Marcellina, Mad. Lemaire; Count Almaviva, Mr. Santley; Figaro, M. Gassier; Doctor Bartolo, Sig. Zucchini.

ROYAL ITALIAN OPERA. SIGNOR GRAZIANI-the barytone with perhaps the most agreeable barytone voice in the world-has at length returned to his post. He has appeared in Lucia (Enrico) and Martha (Plumkett), and afforded the

same gratification as formerly, in both operas taking the place of Sig, Delle Sedie, his superior in artistic acquirement if his inferior in physical gifts. On Saturday there were two changes in the "cast " of Martha. Mad. Penco being indisposed, the part of Lady Henriette ("Martha") was assumed by Mlle. Patti. Greatly as the absence of a genuine singer like Mad. Penco was to be regretted, few could complain of a substitute in every respect so attractive. Last year Mlle. Patti's Martha was pronounced one of the most genial, fresh, and thoroughly charming impersonations of the day; and Saturday night gave no reason for modifying in any sense that favourable opinion. With Sigs. Mario and Graziani as the two enamoured farmers (to say nothing of the other characters) the opera could hardly be otherwise than effectively repretrivial music been listened to under more favourable circumstances. sented; and indeed seldom has its light, sparkling, and not infrequently Mlle. Patti's unaffectedly touching delivery of "The Last Rose of Summer," enchanted the audience, who unanimously insisted upon its repetition; Sig. Mario's "M'appari tutt' amor" was, as usual, the essence of refined expression; and the two airs of Sig. Grazia (especially that very un-English apostrophe to the English national beverage) were as effective as they rarely fail to be. We have already spoken of the general execution of Martha-one of those works in which the perfect organization of the Royal Italian Opera is most conspicuously exhibited; and have nothing to add to, or retract from, our observations on the first performance. The house was literally "crammed to the roof," and the audience one of the most brilliant of the season.

On Monday evening (an "extra night"), the Sonnambula. On Tuesday, Un Ballo in Maschera (with Mad. Penco as Amelia, and Mlle. Battu as Oscar-for the first time); Thursday (" extra night "), the never-tiring Don Giovanni-which has, perhaps, drawn greater crowds and been played more frequently this season than for a quarter of a century past; Friday ("extra night"), Le Prophete (Mad. Didée replacing Mad. Csillag as Fides); and to-night (first time), Don Pasquale with Mlle. Patti, Sigs. Ciampi, Delle Sedie, and Mario in the principal characters constitute the programme of the week. Donizetti's grand French opera of Don Sebastien, which was announced in the prospectus, is withdrawn until next year, in consequence (we are informed) of the most prominent scenic effect depending upon an incident the representation of which at the actual moment would be calculated to excite legitimate objections.

66

Concerts.

MONDAY POPULAR CONCERTS.

THE 100th "Monday Popular Concert" took place on the evening of the 7th inst., in presence of the largest audience ever assembled in St. James's Hall. On no occasionnot even during the memorable Jenny Lind nights," at Her Hajesty's Theatre, fifteen years ago do we remember such an eager invasion at the doors of a public exhibition. It is calculated that little short of 1,000 persons were sent away, for whom it was impossible to find any sort of accommodation. The rush, indeed, was so irresistible that a great many who had purchased tickets in advance were (if we are rightly informed) denied admittance on their arrival, their places being already occupied. These entertainments are for the most part so admirably managed that, if such be really the nevertheless, a pity that such an auspicious event as "the 100th Concert case, no doubt a satisfactory explanation will be forthcoming; it was, should have been accompanied by any incident to ruffle the good humour or disappoint the expectations of the public. Owing, too, to the great difficulty of accommodating so enormous a crowd, the performances did not commence till more than a quarter of an hour past the appointed time- a casualty almost unprecedented at St. James's Hall, where punctuality has hitherto been proverbial. The instant, however, MM. Joachim, Wiener, Schreurs, and Piatti, who were to begin the concert with Mendelssohn's fifth quartet, made their appearance on the platform, they were welcomed by a shout of applause from all sides, and then in breathless silence the vast assembly prepared itself for the harmonious treat.

tion the character of the music upon which they rest their appeal to The success of the Monday Popular Concerts, taking into considerageneral sympathy, is altogether unexampled. About the period of the Cattle Show in the winter of 1858-9, a series of musical performances was instituted at St. James's Hall, which at first proved remunerative, but soon fell off, and ultimately ceased to elicit public attention. In February, 1859, however, the style of entertainment was materially altered, inasmuch as for a miscellaneous heap of vocal and instrumental fragments, gathered from all sources, and without any definite plan or solid basis of attraction, a selection of eight, or, at the most, ten pieces

was substituted, four of them chosen from the instrumental works of acknowledged great composers. When the first concert of the then denominated "new series was advertised, with the name of "Mendelssohn " at the head of a programme in which a quintet, quartet, sɔnata, and two organ "fugues" (entire !) stood conspicuously prominent, very many even of the warmest and most uncompromising advocates of classical art were sceptical as to the result. The enthusiastic verdict of a crowded audience, nevertheless, affixed the stamp of public approval to the undertaking; and from that night (February 14) to Monday evening, when the fourth season of the Popular Concerts was brought to a triumphant close, there has never been any divergence from a scheme, which at first seemed almost as visionary as the millennium. The success of the initiatory essay warranted a continuation in the same direction; and between February and July, fourteen concerts were given. The second season consisted of no less than twenty-seven; and the third and fourth, including some performances in Manchester, Liverpool, and other large country towns-have swelled the quotient to "one hundred." So steady a progress, so brilliant a success, in short, is due to liberal straightforward and legitimate management. Happily the resources of the Monday Popular Concerts are pretty nigh inexhaustible. It will take many years before all the quartets, sonatas, and other chamber compositions of the greatest of the great masters can be heard; and when to these are added the works of others, only less than the greatest, who, from lack of opportunity, have fallen into undeserved neglect, there appears no end to the catalogue. Thus the programmes, season after season, can be varied and strengthened with fresh revivals. That this has been the plan hitherto pursued, the habitual supporters of the Monday Popular Concerts are aware; and so long as it is adhered to there can be little chance of their attraction diminishing.

The programme of Monday night's concert-being the 100th-will perhaps be read with interest by those amateurs who were not present, and who on perusing its contents may readily imagine the gratification it excited:

We shall not criticize the performance. Enough that in every instance it was first-rate, the singers and players, without exception, striving their utmost to do honour to the occasion. The players in the quartet have been named. The violoncello solo of Boccherini (a universal favourite) was in the hands of Signor Piatti; M. Charles Hallé played the Harpsichord Lessons of Scarlatti; the plaintive and beautiful “Elégie " of Ernst (unanimously encored) being again entrusted to Herr Joachim —who also joined M. Hallé in the famous "Kreutzer" sonata, which, though placed at the end of the programme, created its never-failing impression. The singers were Miss Banks, upon whom devolved the pretty song of Spohr, and the graceful canzonet of Haydn; Mr. Weiss, who gave the "Wanderer" of Schubert-which, as was testified by the loud applause that followed, is still in the full bloom of popularity; and

Mr. Sims Reeves, to whom the romantic apostrophe of Don Ottavio, and the almost English ariettes of Beethoven (the last of which obtained another unanimous encore), were allotted. Mr. Benedict accompanied the songs, and took the pianoforte part in Ernst's "Elégie." The entertainment was for the benefit of the director, Mr. S. Arthur Chappell, who has conducted the Monday Popular Concerts from their earliest commencement with a spirit and indefatigability deserving unqualified praise, and whose services were recognized in the most flattering manner, at the termination of the performances, by a general and hearty summons from the audience.

M. THALBERG'S MATINEES. The fourth and last took place on Monday, when the Hanover Square Rooms were so crowded that even the orchestra overflowed with visitors, who almost blocked up the staircase by which the grand "virtuoso" made his entry and exit; while people actually seated themselves on the window-ledges, sooner than be sent away. The programme differed from its predecessors in one important point-viz., the interpolation of a piece of music belonging to the order styled "classical." This was a sonata for piano and violin by Beethoven-the genial and animated one in G. major, Op. 30 in which

M. Thalberg was associated with Herr Joachim. The execution was splendid, and such the effect upon the audience that the last movement was encored with a spirit so unmistakeable as to leave no alternative but to repeat it. The selection included another of Rossini's new pianoforte compositions-the "Etude de l'Avenir"-a lively satire, rather on the present taste than on what is anticipated when Herr Wagner's arguments shall have convinced the musical world that the existing models are all wrong, and the accepted composers all in the dark. There were also two further "transcriptions" from the "Art of Singing applied to the l'iano "both being songs by the inexhaustible Schubert, the last the very characteristic lied entitled "Die Poste." The other compositions of M. Thalberg were his "Barcarolle," his " Octave Study,” his "Home, sweet Home" (repeated by desire), and the-in their way -incomparable fantasias upon Don Pasquale, the Huguenots, and Mosè in Egitto. These pieces, one and all, played with the extraordinary command of tone, happily varied expression, and unfailing mechanical adroitness to which M. Thalberg has accustomed his admirers who, indeed, after so long an experience, would be surprised to receive anything less perfect at his hands- were listened to, from first to last, with the liveliest interest, and in every instance applauded with genuine enthusiasm. The accomplished pianist, nevertheless, would accept no "encore" for his own music, with true artistic feeling and becoming modesty making the single exception in favour of Beethoven's sonata, in which he shared the honour with Herr Joachim. The fantasia on Mosè, however— perhaps the most celebrated piece of the kind ever written-coming as it did at the end of the concert, and considering the marked sensation it excited, might gracefully have been repeated. These matinées, have not only been attractive on account of their bringing M. Thalberg once more before the English musical public as a pianist whose rare qualitics have in no respect deteriorated, or because of the opportunity they afforded of hearing some of the most renowned of his long familiar works from his own agile fingers-but inasmuch as by such new compositions as the "Ballade" (certainly one of his most strikingly original pieces), and some others, he has shown that his vigour and invention as a producer arc as unimpaired as his powers as an executant. From London, we understand, M. Thalberg goes to the "provinces," where his concerts will, no doubt, impart as useful a lesson to our "country cousins" as that which we have ourselves just received in the metropolis.

29 66

WELSH NATIONAL MUSIC. Mr. John Thomas's Concert, on the 4th inst., was not only one of the most successful, but also one of the most interesting of the season. St. James's Hall was literally "crammed," and the audience included a large number of professors and amateurs. The programme consisted exclusively of Welsh music, by four hundred voices selected from the Vocal Association, the West the choruses, under the able direction of Mr. Benedict, being sustained London Madrigal Society, and the Royal Academy of Music, accompanied by a band of twenty harps, the players including the most eminent harpists of the day, as will be seen by the following list: Messrs. Balsir Chatterton, F. Chatterton, Wright, Oberthur, Trust, Cheshire, Layland, Lockwood, Ellis Roberts, Georgi, Weippert and Davies, Dryden, O'Leary Vinning, Bulkeley and Trust, and Mr. John Aptommas; Mesdames Henry Bohrer (late Miss Chatterton) Cooper, Thomas, the latter gentleman also accompanying the soloists. Of the twelve choruses sung four were encored, "Codiad yr Haul" (The rising of the Sun), as bright and lively a composition as one could desire; "Ar Poor hyd y Nos" (All through the night), better known to us as " Mary Anne; Rhyfelgyrch Gwyr Harlech" (March of the Men of Harlech), one of the most inspiriting melodies extant; and 66 Hob y deri danno," joyous tune, worth a hundred modern insipidities. But it was not the choruses alone which raised enthusiasm amongst Cambrian (and other) breasts; some of the solos met with like honour; and to Miss Edith Wynne fell the largest share, as she was called upon to repeat three songs 66 Deryn Pur" (The Dove), and " Bugeilor Gwenith Gwyr" (Watching the wheat), "Y' Clychun Aberdyfi" (The Bells of young lady's first appearance in public or not, we may predict for her Aberdoviy), all of which were given in Welsh. Whether this is the a future, as she has not only a voice, but sings with feeling and intelligence. "The rising of the lark," charmingly sung by Miss Banks, and "The ash grove," no less delightfully given by Miss Eyles, were repeated in compliance with the general wish; while Mr. Wilbye Cooper, in "The Maid of Sker," and "David of the White Rock," deserved plaudits, Mr. Lewis Thomas's fine voice doing all justice to "The camp," and "Love's fascinations." A MS. duct for two harps played to perfection by Mr. J. Balsir Chatterton and Mr. John Thomas, the composition of the latter, met with an immense reception and strong desire for its repetition, answered by the return of the performers; and two solos also from the same pen, played by the composer, creating no less enthusiasm.

MR. APTOMMAS'S HARP RECITALS.-The sixth and last came off on Tuesday afternoon, at Collards' Pianoforte Rooms, and finished the series brilliantly. The share of the programme allotted to the harp comprised Parish Alvar's Concertino for two harps in which Mr. Aptommas was assisted by Herr Oberthur; fantasia on Irish melodies, played by Mr. Aptommas-his own composition; Trio for harp, piano, and organ, composed by Herr Engel, executed by the composer, the concert-giver, and Herr Kühe; and Alvars and Czerny's grand duo for harp and piano, performed by Messrs. Kühe and Aptommas. All were finely played, and pleased immensely, the duet for two harps perhaps the most. With two such accomplished performers as Herr Oberthur and Mr. Aptommas, the most indifferent composition could not fail to be strongly recommended; but, in reality, Parish Alvar's concertino is good and agreeable music, and is, moreover, an admirable show-piece, in which the finest powers of the instrument are brought into play. The "Recitals" of Mr. Aptommas have gone a long way towards recommending the harp to more particular notice than it has recently enjoyed. That such an instrument should be forgotten is not possible, but that it has been too much neglected of late years we are inclined to think. A few such powerful advocates and indefatigable upholders as Mr. Aptommas would no doubt restore the harp to its old favour. The vocal music was undertaken by Mlle. Georgi, Mesdames Louisa Vinning, Helen Percy, and Mehlhorn, Messrs. Swift and Seymour Smith. Their performances call for no especial comment. conductors were Herr Kühe and Herr Wilhelm Ganz.

The

MRS. HOLMAN Andrews' MATINEE.— On Friday, June 20, Mrs. Holman Andrews gave a very interesting Matinée Musicale at her residence in Bedford Square. The programme included vocal and instrumental pieces of every variety of style, from the newly fashionable to the strictly classical. Beethoven, Mendelssohn, Schubert, Chopin, Auber, and Balfe, were represented among the composers. Foremost in merit among the singers was Miss Louisa Pyne, who had just returned to London, and who executed one of her most popular solos, and joined her sister in the favourite duet from the Diamans de la Couronne, Mrs. Andrews playing the accompaniment.

MR. F. PENNA AND MAD. PENNA'S Matinée Musicale took place on Friday last, at Messrs. Collards' rooms, and was attended by a numerous and fashionable audience. No inconsiderable portion of the programme was contributed by the bénéficiaires, Mad. Penna joining Mr. Willy in Mozart's sonata in A, for violin and pianoforte, in addition to playing the sonata of Beethoven, Op. 13 (the Patetica), and Sterndale Bennett's "three musical sketches," The Lake, the Mill Stream, and the Fountain, Miss Giulia Penna and Mr. F. Penna singing Mercadante's duo, "Sc un istante" (Elisa e Claudio), Donizetti's "A tanto amor" (La Favorita), and a new ballad from the pen of John Barnett, "The Curfew bell was ringing" (deservedly encored), also falling to the share of Mr. F. Penna, and a cavatina to the young lady. The concertgivers did not, however, rely upon their own names as the sole attraction. Mrs. Merest gave a charming reading of Haydn's canzonet, “She never told her love," and two ballads of her own composition, "I heard thy fate without a tear," and "The chain is broken," both of which were received with distinguished favour. Miss Eleonora Wilkinson was heard to great advantage in "Mi pur cheun lungo secolo," a song by Sig. Coppola; Mad. R. Sidney Pratten eliciting a warm encore for her finely executed guitar solo, and Mr. Pratten more than sustaining his reputation as first of English flautists. Sig. Campana and Mr. Frederick Smith were the acompanyists.

All were

MR. G. A. OSBORNE'S Third Matinée of classical and pianoforte music was given on Wednesday last, at his residence, Dorset Square. The programme included, as solos, Weber's sonata in C major, selections from Handel and Scarlatti, prelude and fugue by Bach, 3rd book of Osborne's "Fallen Leaves," fantasia on La Gazza Ladra, and Mr. Howard Glover's new pianoforte piece, "The Baby's Song." presented in Mr. Osborne's neatest and most finished manner, and pleased universally, more particularly "The Baby's Song," which quite enraptured the ladies. Mr. Osborne also played his own trio for piano, violin, and violoncello, with Messrs. Deichmann and Paque-a capital piece capitally performed. Mlle. Florence Lancia and Mr. Allan Irving divided the vocal music. Each contributed an Italian song, and both joined in a duet. Mlle. Lancia, in addition, gave Mr. Osborne's pretty song, "The Flower-girl," in so charming and expressive a manner as to provoke the loudest applause during the concert. The rooms were filled by a brilliant and fashionable attendance, among whom we noticed the Duchess of Sutherland and party. During his series of pianoforte recitals, Mr. Osborne has introduced nearly all the great masters, his performances comprising works from Handel, Bach, Scarlatti, Mozart, Beethoven, Weber, Mendelssohn, and others. His contributions from the moderns give the names of Chopin, Kalkbrenner, Thalberg, Stephen Heller, Henselt, Gottschalk, &c. That such refined

and excellent entertainments should be attended with eminent success it is gratifying to know.

MISS STEELE'S CONCERT came off at the Hanover Square Rooms on Friday evening the 13th ult., and was very fashionably attended. The programme, which was in a great measure devoted to modern popular music, was yet happily varied by one or two striking exceptions from the classic repertory. Beethoven's Grand Trio in B flat, Op. 11, for pianoforte, clarionet and violoncello, was a remarkable performance by Herr Kühe, Mr. Lazarus and Herr Lidel. Herr Joachim, too, was in his most classic mood, and brought with him Bach's "Chaconne," and Spohr's "Barcarole and Scherzo." In the first-named he created quite a furore, and threw the audience into positive ccstacies. The other instrumental performances were Grand Fantasia on Dinorah, composed and played by Herr Kuhe, and Schubert's Fantaisie Brillante, for violoncello, by Herr Lidel. The following artists formed the bénéficiaire in the vocal music:- Mad. Lemmens-Sherrington, Miss Martin, Mrs. Merest, Mr. Tennant, Mr. Trelawny Cobham, and Mr. Santley. Most admired in the singing was Miss Steele, who gave Mozart's " Al desio," with true artistic feeling; Mad. Lemmens-Sherrington, who sang the air "Des bijoux," from M. Gounod's Faust, with great brilliancy; Mr. Tennant, who created quite a sensation in a new song called "Hast thou no tear for me?" and Mr. Santley, for his splendid singing in Benedict's "Tamo."

MR. H. C. COOPER'S CONCERT. — A brief and admirable entertainment. Mr. Cooper was assisted by Mad. Tonnelier, a lady with a charming soprano voice of whose antecedents we should not have been left in ignorance till now- Messrs. W. G. Cusins, and Pettit. The programme was characterised by novelty as well as excellence. The Trio in D major (Op. 112!), for pianoforte, violin and violoncello, by Mr. J. L. Ellerton-one of England's most industrious composerswas the example of the former, and found no small favour with the audience, especially as it was so well recommended by the playing of Messrs. Cooper, G. Cusins, and Pettit. The Kreutzer Sonata of Beethoven, executants, Messrs. G. Cusins and Cooper, having still stronger recommendations, was even more liked. The violin solo- a necessity, when so distinguished a virtuoso as Mr. Cooper was host, entertainer, and concert-giver - was Bach's Chaconne, brilliantly executed and liberally applauded. M. Cusins played Mendelssohn's Andante and Rondo Capriccioso to the unqualified delight of the select but elegant audience assembled in the Pianoforte Rooms of Messrs. Collard. The vocal music was by no means obtrusive. Mad. Tonnelier sang the air Qui la voce," from Puritani, with great fluency and no small expression, and joined Mr. Cooper in an introduction, air, and variations, for voice and violin, in which she seemed to vie with the instrument in facility and quality of tone. The concert was everyway good.

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MARYLEBONE INSTITUTION.-A concert of vocal and instrnmental music was given on Wednesday night, in the lecture-room of this institution, under the name of Miss Eliza Hughes, a well-known professional singer. The programme was essentially of a mixed character, but very good in its way. Miss Hughes afforded entire satisfaction to her admirers of whom there were apparently a very large number among the audience by her vigorous execution of the once popular air, with variations, "Cease your funning; " Miss Eyles, in Mozart's " Addio,”— an extremely chaste performance; Mad. Sainton Dolby, in Miss Gabriel's ballad, "The light in the window" which elicited a loud and unanimous encore; Mr. George Perren, in Ascher's favourite romance, "Alice, where art thou ?" (encored but not repeated); Mr. Lewis Thomas in a ballad by Weiss ("The soldier's dream"); and Miss Ellen Williams in one by Salaman (“Good bye”)— besides a nautical song of Dibdin, set down for Mr. Ransford, and a new duet from the pen of Mr. Osborne, for Miss Hughes and Mad. Sainton - gave importance and variety to the first part of the selection, which was long enough in itself, without any additions, even for what is termed a “miscellaneous concert." The instrumental music was equally marked by variety. Mr. Ellis Roberts performed some harp variations on the Welsh melody, " Per Oslev;" Mr. Charles Salaman some interesting pieces by Handel and Dominico Scarlatti, on a double-harpsichord," manufactured in 1711 by Shudi (founder of the now eminent house of "Broadwood and Sons ")-besides two compositions of his own, on the grand pianoforte, including his clever and sparkling Saltarello; and Mr. Willy played, with greal applause, a brilliant duet for violin and piano, his associate being Mr. George Osborne. Messrs. Osborne and Salaman, old and experienced professors, were not, however, the only pianists at this concert. A very young lady made, we believe, her first appearance in public; and to judge by the hearty reception she experienced, with eminent success. Miss Mattie Spinnie so the débutante is named showed, perhaps, more ambition than judgement in selecting Mendelssohn's "First Concerto" for such a trying occasion. By this we do not intend that due application would not enable her to