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broke so brightly on the public gaze. Miss Bobertine Henderson. Both ladies gave songs by Mr. Walter Macfnrrcn j the former, «' Tho Water Lady," and the latter, " A widow bird sat mourning for her love," and •' Welcome Spring." The songs are gems of the poetico-scntimcntal style, and could hardly have been recommended by more genuine expression or sweeter voices.

St. Jamba's Hall.—A Grand Military Concert, for the benefit of the French Charitable Association, was given on Saturday evening at the above hall, under the patronage of the Emperor of tho French, the Ambassador of France, the Countess of Hainault, and a long list of English fashionables. The principal performers were the bands of the Gendarmerie and Zouaves of the French Imperial Guard, whose playing won admiration from all present. The first-named band, among other things of lesser note, executed the overtures to Guillaume Tell and Zampa in a masterly style, both of which were loudly applauded, and the latter encored. The Zouaves' Band played a Marehe Militaire by Heinmerle, and the march from the Seraglio, with great effect. The two hands in conjunction performed as finale "God Save the Queen" and "Partant pour la Syrie." Miles. Ida Gillicss and Georgi supplied some vocal pieces.

Exeter Hall.—The friends and patrons of the Metropolitan Free Drinking Fountain Association—certainly one of the most admirable social movements of the day—must have been thoroughly satisfied with the concert got up io its behalf on Wednesday night, since, judging from the high terms of admission and the concourse assembled, there must have been a largo receipt. The concert was given under the most distinguished patronage, and most of the lady patronesses, we understand, were present. Indeed, a more brilliant array of rank and fashion has seldom congregated together in Exeter Hall. The success in the main must be attributed to the committee, who, with their zealous and indefatigable chairman and treasurer, Samuel Gurney, Esq., left no stone unturned in this, as in other instances, to advance the interests of the association. With such an acting body and such a chairman, patronised and supported in the highest quarters, there can be no doubt of the result of the new movement. Viewed morally and physically, the establishment of drinking fountains is of inestimable value, and everybody is concerned in their support.

The concert was in every way excellent. Rossini's Stubat Mater, performed by n band and chorus numbering more than 500, and conducted by Mr. Benedict, with Mile. Titiens, Mile. Vestvnli, Mr. Sims Beeves, and Mr. Santley as solo vocalist", was the principal feature in the programme. It was finely executed, and received with rapturous applause. The singing of Mile. Titiens, Mr. Reeves, and Mr. Santley could not be surpassed. Mile. Vestvali made her first appearance in the sacred concert-room in London. She is but little known in England, but has achieved no inconsiderable reputation on the Continent. Mile. Vcstvali's voice is an unusually deep and powerful contralto, somewhat coarse in quality, but occasionally very telling in forcible passages. She sings with a great deal of expression, which sometimes verges on the extravagant, as was exhibited in the beautiful air "Fac at portcm." but which, nevertheless, met with a favourable reception. Perhaps finer singing of the airs "Cujus animam" (Mr. Beeves), " Pro peccatis" (Mr. Santley). and the "Inflammntus" chorus (Mile. Titiens and choir), as far as the female voice was concerned, has not been heard. Except that a slight unsteadiness was perceptible in the unaccompanied solo and chorus — no fault certainly of the solo singer, Mr. Santley — the choir was entitled to high praise. The band could hardly be improved.

From the miscellaneous selection we may take the cavatina "Come per me scrcno," from Sonnambula, sung perfectly and beautifully by Mile. Lancia; the selection from the Lily of Kiilarney, given by Mile. Lancia, Mr. Tennaut, and Mr. Santley; a new ballad by Mr. Howard Glover, They offer rank to me," composed expressly for Mile. Titiens, and sung by her; the same composer's ballad, " He may smile on many," by Mr. Sims Beeves, both applauded to the echo, and the singers recalled, as worthy of especial notice. There was also in the miscellaneous part a performance on two pianofortes of Ascher's duo on William Tell, executed by the composer and Mr. Benedict; and a solo on the same instrument by Herr Aschcr. The band played the overturesto DerFreischutz and the Lily of Kiilarney and the graud march from the Prophete.

A few more of these entertainments, so organised, so carried out, so supported, and with the like object in view, would be desirable. Mr. Gurney and bis committee have set a good example; but all committees have not such valuable ground to work upon as the Metropolitan FreeDrinking Fountain Association.

BOYAI, ACADEMY OF MUSIC. The third concert given by the students in the Hanover Square Booms was in many respects interesting. Professor Sterndalo Bennett's very

popular "cantata," The May Queen, performed entire, occupied nearly the whole of the first part, and was in most instances well done. Miss Bobertine Henderson—the young soprano, whose performances at other public concerts have recently called most attention to the Academy, as an institution where solid instruction in the vocal art may bo obtained —sang the part of the May Queen; Miss E. B. Hall, a very promising "mezzo-soprano," that of the Queen of England; tho supposititious Bobin Hood and the "Lover" being respectively assigned to Mr. Budkin nnd Mr. Wilbyo Cooper. After the cantata Mr. Walstein played the first movement of a pianoforte concerto from his own pen — well written, well scored for the orchestra, and, in spite of its want of originality, showing that he progresses even more steadily as a composer than as a performer. The second part of the concert comprised three instrumental displays, all more or loss commendable — Mendelssohn's Andante and Bondo in B minor, by Miss Augusta Ball ; a fantasia for violoncello {Frnnchommc), by Mr. H. Harper—son of Mr. Charles Harper, the eminent horn-player; nnd the Adagio and Bondo from Beethoven's pianoforte concerto io E flat, by Miss A. Zimmertnann, whose improvement is as remarkable as it is solid, and who at tho present moment is decidedly one of the pupils from whom great things may be with most reason expected. There was abo much to gratify in the vocal exhibitions, although we cannot but think they were too exclusively devoted to Italian music. Mr. Henry Smart's graceful duct, "Not in our grief"—very nicely given by Misses M'Donald and Upton —was pleasant to hear amid so much exotic music, which, however excellent in its way, should not, in an English Academy, be allowed to interfere with the legitimate influence of the sterling English models which happily exist. In the prayer from La Sonnambula (" Ah non credca") Miss Armytnge won "golden opinions;" and these were fully borne out by her subsequent performance in tho "soprano" solos of Mendelssohn's Lorelei, which, generally speaking, was somewhat beyond the resources at disposal of the conductor, Mr. Lucas. Miss Tayler, too, afforded real satisfaction in an air from Donizetti's Tasso. Tho other pieces were " Parto," from Mozart's Tito, well sung by Miss Bobertine Henderson (clarinet, Mr. A. Williams); "0 mio Fernando" (La Fuvorita), by Miss E. Hall ; nnd "Convicn partir" (La Figlia del Jleygimento), by Miss Hulbcrt. After all, it must be admitted that tho music of Handel nnd Mozart is likely to be a more useful exercise for the students, a safer guide to their early studies, and a surer road to proficiency than that of any of the modern Italian masters—Bossini himself only partially excepted.

At'the cud of the concert " prize medals" were distributed by the Duke of Ljinster, who, "with his own hands," hung them round the necks of their intended recipients. Why this ceremony should havo been performed in public, and why especially by his Grace the Duke of Lcinstcr, was not explained; nor was any information vouchsafed with respect to tho individual achievements on account of which tho medals had been awarded. Miss Armytago was one of tho four thus honoured; but who were the others we were unable to learn. A petition, very numerously signed—by foreign as well as native musicians — has been laid, wc understand, before the Chancellor of the Exchequer, soliciting, on the grounds stated at length and in detail, a Government grant in favour of the Royal AcaJemy of Music. Without discussing the nature of the assistance asked for, or the reasons adduced in support of the demand, we have no hesitation in saying that, considering the wide-spread influence now exercised by music among all classes of the community, it has claims on the attention of our legislators which cannot be fairly ignored. Nevertheless, nnd in spite of Mr. Gladstone's gracious reception of the two gentlemen appointed to represent the institution and enforce the argument of the petition, wc are of opinion that it would be a better course if some independent member of Parliament could be persuaded to bring the subject before the House. Several gentlemen might be pointed out who, wc are disposed to think, would not be unwilling to undertake tho task. Government has quite enough on its hands; and the Chancellor of the Exchequer is probably just now in a more than usually economical mood with regard to all matters except those of immediate political importance.

P.S.—With regard to the Prize-Medals, the subjoined letter, addressed to The Times, appeared in Tuesday's impression :—

Sir,—Observing in your notice in this day's impression of the prize concert of tho Boyal Academy of Music that, except that of Miss Armytagc, you could not learn the names of the students to whom the Duke of Leinstcr declared the prize medals to have been awarded, I beg to inform you that the3C were Miss Emily Pitt, bronze modal; Henry Robert Eyercs, silver medal; aud John Hey wood, bronze medal; and that these prizes were all for general progress during the past year. I have the honour to be. Sir, your obedient servant,

Poyal Academy of Music, July 14th. J. Gimsoj), Secretary.

THE MENTAL HISTORY OF POETRY.
Br Joseph Goddabd.

"To search through nil I felt or law,
The springs of life, the depths of awe,
And reach the law within the law."

Tennyson.

Continued from page 430. The latter process is the history of the production of all that earnest and passionate Poetic effluence, springing from another source altogether to that which has been defined as the main and fundamental one both of Poetry and Art generally. It is the history of that solemn and pathetic modulation in the Poetical strain of the world, which has for its inspiration—Disappointment—Regret—Vacancy—Despair. Wherever any of these conditions exist there is a sinking—a diminution of tone— in the physical nature. There is consequently a proportionate increase in the vigour of mental life. Not that upon any physiological principle weakness of body necessitates power of mind; but there is always, according to the constitution of man, a determination on the part of the objective, sensational and physical faculties to evolve all the life and the vital energy in his nature in a greater ratio than the faculties of the mind. Whatever then in ordinary cases lowers the physical condition, brings tho relative energy of mind and body into more even proportion; and thus, as it relieves the mind from the partial congestion of inordinate animal health, appears to endow it with increased power, pliability, and perspicuity. Even up to this point, in the existence of the abovementioned conditions, there is a step in the direction of mental demonstration, and thus though very vaguely—of Poetry. But the following remarkable moral instinct, operating in man under the dispensation of any form of woe, brings'sorrow and song into complete proximity; for there is a general and intuitive tendency in the breast of man, under the smart of misfortune, especially when of a moral nature, t> seek out some general principle under which his particular grief is a form of application. It will always be found that disappointed minds have a disposition to generalise. This results from the endeavour of the nature to merge its misfortunes with the grand and general action of some high and unswerving law. This accomplished, the heart bows before an influence alike inevitable and imposing; the imagination is kindled; the moral existence expands and the spirit rises. This is the process through which the nature of man morally surmounts its afflictions.

It is a moral process of reconciliation. By its instrumentality the baffled hope, the shattered sympathy, from the position of being one of the unnoticcfible fragments of ruin, strewing tho moral highway of life, becomes suddenly the testimony, the witness of some sublime law in the dispensation of the world. This is the history of a vast amount of the profound and solemn philosophy which has exuded from the mind of man. Often bos the loss of a small portion of emotional life led to the inheritance of a glorious mental existence; in the same way that, as historians describe, the loss of some freedom in their native land conducted the Pilgrim Fathers to the enjoyment of a replete liberty in a new and greater world.

In many cases of emotional sorrow leading to mental energy—of emotional death conducing to mental life—of the affliction of the heart resulting in the tlevclopement and expansion (which is the joy) of the mind, where the intellect is not sufficiently profound to connect a petty grief with some grand principle in the moral system of life, then this same vague seeking for consolation to the heart, through the calm power of the mind, induces tho latter to discover, if not the first cause of its sorrow in the grand field of morality, at least some likeness of it in the beauty and sublimity of Nature. Hence many a striking .simile. Hence much earnest Poetry, all proceeding from a very unpoctical source— disappointment—and springing into existence quite independently of the general and fundamental conditions of Poetry and Art.

Tho above are the inner conditions attending that pensive and mournful issue of Poetry termed "the hopeless school." The above is the mental process which unfolds the Poetry of all those writers who "Are nurtured into Poetry bjr wrong j"

who

"Learn in suffering what they teach in song."

But where the circumstances favourable for the production of this order of poetic plaint happen to coexist beside those general and legitimate poetic conditions which have been previously defined in this enquiry, then the lyric off-pring is extremely grand, striking, and profound. Tnis is exemplified in many passages in the work of Byron and the American Poc. It has been mnch the custom of late years to blink the profound truths evolved by orders of mind, by branding them with the epithet "morbid," and, accordingly, avoiding them. Such truths may be called, and may be, "morbid ;" but truths they still remain, and cannot be controverted. The fact is, there are many truths

that never reveal themselves except to minds cut off from all the soft and instinctive sympathies of life — spurred into preternatural activity — bared into incarnate liberty, and left altogether to breathe isolated and divested life — to fulfill existence — in the mystic heights and depths and awful darknesses of nature. This is, doubtless, a morbid condition; but it is one which has the property of often arriving at the perception of deep, vital, and naked truth. The mind, in this state, is enwrapped in that preternatural sensitiveness which enables it to perceive things hidden to the minds of others, even as the eye or ear, in certain abnormal conditions, has a scope of action for finer, more extended, and more penetrating than these organs possess in their natural and ordinary state. These considerations may help to explain the frequently remarked peculiarity of there being almost always i "morbid" tendency in great minds.

( To be continued.)

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THE PRIZE QUARTETS.

Sib,—Will you allow me to point out a capital joke in your number of June 28th. The umpires in the late Quartet trial are there mode to say, "We award your first prize to Quartet No. 19, because" . .

"it is not

the richest, nor the most original in ideas." To be sure, the above blank is filled by the following instructive information:—" Of all you have submitted to us, this best fulfils the specialities, of Quartet writing and best carries out the principles of musical design, though "—

I think, after a cousidcrable amount of consideration, 1 may venture to say that I feel sure this was not for a moment intended as a jocular perpetration, funny as it is, that the prize was withheld from the author of the richest and most original Quartet. My humble idea of a composer who writes the richest and most original music is that he must be out-and-out superior to the first prize-holder, notwithstanding the specialities and principles of musical design as above quoted. Rich and original 1 A wonderful compliment, I call it, when given by such men as the umpires! Infinitely greater than the praise bestowed on the first prize 1 — neutralising, in fact, the honour of being elected champion! Can you inform me, Mr. Editor, how many of the umpires were raised in the Emerald Isle?

As 1 was present at the performance of the two prize Quartets, and listeued very attentively, and with great pleasure to them, 1 am in a position to say that they arc both charming compositions, and, tor my own part, I fell my Quartet was fairly beateu; but the umpires say there was a richer and more original Quartet than the prize oues, and tins did not get a prize. A very tunny joke indeed!

Run. A. Ml Is,

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QI6NOR GARDONI'S Popular Songs,

rO "Alien" (Qual lucliu Stella in ctelo seren), bv Am Iu.h .t>.

"SI rU SAVAlb" (dedicated tu Tom H^hlcr, Esq ), by h u u 3s.

London: Duncan Davison & Co., 241 Regent Street, W.

MARIE D'ANNETTA'S NEW DANCE MUSIC
(Characteristically Illustrated).
"What Next Quadrilles*' (Robin's Last), with cornrt accompaniment ... 4 0

*' The Spirit Rapping Polka," dedicated to ail ■ pint-rappers" mediums ... 3 0

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

■VTEW SONGS BY J. P KNIGHT. —Composer of

"She wore a wreath of ro>es " and *' S4y, wli.u shall my son^ be to utght?"

r. d.

"Sleep and the past." Canzonet. Sung by Mile. Ida GIllIEss ... ... 3 0

14 Let lite be bright." Ualud, Poetry by Harkirt Power ... .. ... 3 0

"The voice of Dreams." Song, Poetry uy the Rev. Hamilton Dicker ... 3 0 London: Duncan Davison & Co., 244 Regent Street, W.

NEW AND REVISED EDITION.
Price 12f.'

THE VOICE AND SINGING.

BY

ADOLFO FERRARI.

"*The Formation and Cultivation of the Voice for Singing.'

'* The great and deserved success of this work has brought It, in no long time, to a second edition, carefully revised, and enriched with a number of additional exercises which greatly increase its value.

Since its first publication this book has met with general acceptance, and is now used as a vade mecum by many of the most eminent and intelligent vi>cal instructors both In the metropolis and the provinces. We say vocal instructors, because it fs only to Instructors that works of this class can be of material use. Singing Is not an art which can be learned by solitary study with the help of books, and those who are selftaught (as it is called) are always badly taught. But a good treatise, in which the principles and rules of the art, founded on reason and experience, are clearly expressed, is of infinite value, first to instructors, in assisting them to adopt a rational and efficient method of teaching, and next to pupils themselves, inconstantly reminding them of, and enabling them to profit by, the lessons of their master. In both these ways Signor Ferrari's work has been found pre-eminently useful.

"The foundation of singing is the formation of the voice. A bad voice cannot be made a good one; but the most mediocre voice may be made a source of pleasure both to its possessor and to others. Accordingly, ample dissertations on the formation of the voice abound in our treatises on singing. But It unfortunately happens that these dissertations are more calculated to perplex than to enlighten the reader. We could refer to well-known works hy professors of singing of great and fashionable name, In which the rules for the formation of the voice are propounded with such a parade of science, and with descriptions of the. vocal organs so minute and so full of Greek anatomical terms, that no unlearned reader can possibly understand them. Signor Ferrari (as he tells us) was brought up to the medical profession before, following the bent of his inclination, he betook himself to the study of music. But this circumstance, while it made him acquainted with the physical construction of the human organs of sound, has not led him into the common error of displaying superfluous learning. We have not a word about the * glottis' or the 'trachsa,' but we have a broad principle distinctly enunciated, and Intelligible to everybody.

"Signor Ferrari's principle is of the simplest kind. * Everyone,' he say*,' who can speak may sing. The only difference between speaking And singing is, that in speaking we strike the sound impulsively and immediately leave It, whereas In singing we have to sustain the sound with the same form of articulation with which we struck it impulsively.' It is on this principle that Signor Ferrari's practical rules for the formation and cultivation of the voice arc based. To give the pupil a sufficient control of the breath for the utterance of prolonged sounds — to soften the harshness and increase the strength and equality of the natural tones of the voice, without ever forcing it —these are ihe objects of the scales and exercises on sustained sounds, which raus'be practised under the careful superintendence of the teacher, whose assistance Signor Ferrari always holds to be imi is pen sable.

"Signor Ferrari makes an observation which, as far as we are aware, Is new. It Is evidently well founded, and of great importance. Owing to the want of attention to the tone in which children speak, they acquire b;id habits, and contract a habitual tone which is mistaken for their natural voice. It Is a result of this neglect, he saya, that * the young ladies of the present day speak In a subdued, muffled tone, or what may be called a demi-falsetto, inconsequence of which very few natural voices are heard.' Hence a young lady, when she begins to sing, frequently continues to use this habitual tone. 'The result is,' says Signor Ferrari, 'that not only does she never sing well, but soon begins to sing out of tune, and finally loses her voice, and In too many Instances injures her chest. 'Indeed/ he ndds, ' I have no hesitation in raying that hundreds of young ladies bring upon themselves serious chest affections from a bad habit of speaking and singing.' Signor Ferrari afterwards shows how this great evil may be cured by making the pupil read or recite passages In a deep tone, as though engaged in earnest conversation; and he adds, ' I cannot advise too strongly the greatest attention to the free and natural developement of the lower tones of the voice. It i» to the stability of the voice what a deep foundation Is to the building of a house.'

"Signor Ferrari deprei ates, as fatal errors, the custom of practising songs or solfeggio with florid passages before the voice is sufficiently cultivated. He is of opinion that young ladies ought to begin the study of singing at thirteen or fourteen, and not, as is generally done, at seventeen or eighteen, by which time they ought to be good singers. In regard to the important question how long the pupil ought to practice, he observes that this will depend on the acquisition of a proper method. The more a pupil practises with an improper intonation the worse; but once able to sing with a natural tone, he may practice two, three, or more hours a day without danger. All Signor Ferrari's precepts are of the same sound and rational character.

"The exercise'*, embracing the scales, and all the various passages which belong to modem melody, are sufficiently copi-ms and admirably adapted to their purpose. In theorigln.il publication these exercises were confined to the soprano, or the corresponding male voice, the tenor. But in this new and revised edition a number of exercises are added for contralto or barytone voices — a very gi cat nddition to the value of the work." — Illustrated Neu t, April ft.

London : DUNCAN DAVISON & CO., 244 Regent Street, "W.

THE AIRS, BALLADS, FANTASIAS, QUADRILLES, WALTZES, &c. IN THE OPERETTA OF

"ONCE TOO OPTE N."

COMPOSED BY HOWARD GLOVER.
Performed with the greatest success at the Theatre Royal, Drury Lane.

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"Oh! Glorious Age of Chivalry." Duet. Sung by Mile. Jenny Bavr and Miss Emma Hevwoud

"The Solemn Words his Lips have spoken." Grand Air. Sung by Mile.

Jenny Batjb As. 6d.

"The Loveyou've slighted." Ballad. Sung by Mile. Jenny Bkvr lis. 6d.

*• Stratagem is Woman's Power." Ballaii. Sung by Miss Emma Heywood 2s. Gd.

'* Love is a gentle t hing." Ballad. Sung by Miss Emma Heywpod ... 8a, 6d.

A Young and Artless Maiden." Romance. Sung by Herr Reichardt ... 2s. 6d.

'* There's Truth in Woman still." Romance. Sung hy Herr It men A Hot ... its. 6d.

"The Monks were Jolly Boys." Ballad. Sung by Herr Formes 2s. Od.

"In my Chateau of Pomperuik." Aria Buffa. Sung by Herr Formes ... 3s. Od.

FANTASIAS, QUADRILLES AND WALTZES.

Brinley Richards' Fantasia, on *' Once too Often ** 4s. Oa\

Emile Berger's Fantasia, on "Once too Often" 3s. Od'

"Fontainbleau Quadrille," by Strauss. (Handsomely Illustrated in Colours.) 4s. Od*

"La Belli Blanche Waltz," ditto ditto 4s. Od*

'•Mr. Glover's operetta is a decided, and, what Is better, a legitimate, 'hit/ The songs be tore 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 w«dl suited to the voice of Herr Formes. 'The love you've slighted still Is true' {{or Mile. Jenny Baur) has a melody of charming freshni-fis. 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 tiling' (for Miss Emma Haywood), which enters the more refined regions of the ballad-school, and attains an expression as truo as It is graceful. The opening holds out a promise which the sequel entirely fulfils." — Musical World.

London: Duncan Davison & Co., H\ Regent Street, W.

MEYERBEER.

THE FOLLOWING COMPOSITIONS, by this eminent Composer, are published by DUNCAN DAVISON & CO.:—

VOCAL.

$. d.

11 Here on the mountain/' with Clarionet obbtigato — ... ... ... 4 0

Violin or Violoncello in lieu of Clarionet, each 0 6

"Near to thee," with Violoncello obbtigato ... ... ... ... ... 4 0

'* The Fischermalden" ... ... ... ... ... ... ... 1 0

The Lord's Prayer for Four Voices, with Organ ad lib. ... ... ... 3 0

Separate Vocal parts, each ... ... ... ... 0 G

"This house to love is holy." Serenade for Eight Voices ... ... ... 4 0

Separate Vocal parts, each ... ... .. 0 6

"Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenors, and 1 Bass 4 0

PIANOFORTE.

Royal Wedding March (Quatrieme Marche aux flambeaux). Composed for the marriage of the Priucess Koyat of England with Prince Fredeifck William of Prussia ... ... ... ... ... ... ... ... 5 0

Ditto, is a duet ... ... ... ... ... ... ... 10 0

Published by Duncan Davison & Co., 244 Regent Street, W.

TARANTELLA, by Walter Macfarren, played by the Composer with distinguished success, is published, price 4s.t by Duncan Davi«<>n & Co..Hi Regent Street. W.

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LES ECHOS DES FORETS (Forest Echos).—Polka, Compiled by A. Riedel, Bandmaster of the Gendarmerie of the Imperial Guard, played by the Band of the Gendarmerie at the Horticultural Gardens, and always encored. Now ready for the Pianoforte. Price M.

THE NEW OPERETTA,

BLONDE OR BRUNETTE,

WRITTEN IV

J. P. W O O L E R, ESQ.,

THE MUSIC COMPOSED BY

W. M. L U T Z.

1. Overture

2. Duet."

3. Song."

4. Duet."

5. Duct." «. Tilo."

7. Song."

8. Song. ■•

9. Finale."

10. Serenade.

11. Ballad.

12. Quartet.

13. Song."

14. Duet."

15. Song. * 1C. Trio."

17. Ballad.

18. Finale.

ACT I.

Sir ! my sister's reputation." Tenor and Baritone

Merry little Maud." Tenor

See your lover at your feet." Sopranos

Is that what all lovers say?" Soprano and Tenor

Whoe'er would trust." Sopranos and Barytone

'Ill gone ! the Hope that once did beam." Soprano ... M.

Hurrah ! for the Chase.'' Barytone

Farewell, for ever."

ACT n.

. "As I lay under the Linden Tree." Tenor

"Love's brightest dream." Soprano

"Ah! I fear he sees resemblance." Soprano, Tenor, and Barytones

The Belle or Hallingarry." Soprano

Which is mine, the hand or Bower?" Soprano and Tenor ...

How oft unkindly ttius we chide." Barytone

Hold ! you wish to fight, I see." Soprano, Tenor, and Barytone ...

"Sweet Maiden, mine!" Tenor

"Mine, at last."

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THE

ALEXANDRE HARMONIUMS

CHAPPELL'S, 50 NEW BOND STREET.

ALEXANDRE & SON

Have taken out a new Patent for the Drawing-Room Harmonium, which effects the greatest improvement they have ever made in the Instrument. The Drawing-Room Models will be found of a softer, purer, and in all respects more agreeable tone than any other instruments. They have a perfect nnd easy means of producing a diminuendo or crescendo on any one note or more; the bass can be perfectly subdued, without even the use of the Expression Stop, the great difficulty in other Harmoniums. To each of the New Models an additional blower is attached at the back, so that the wind can be supplied by a second person, and still under the new Patent the performer can play with perfect expression.

THE NEW CHURCH HARMONIUM,

WITH TWO ROWS OF KEYS.

These Instruments are a perfect substitute for the Organ; the upper keyboard has a Venetian Swell, and acts as a Soft or Choir Organ, on which a perfect diminuendo and crescendo can be produced; and the lower keyboard answers the purpose of a Full Organ. The tone of these Instruments more closely resembles that of an Organ than any Harmonium yet produced, being rich and pure in quality. The construction is of a simple character, and not likely to be affected by damp, rendering them peculiarly suited to Churches. An additional blower is attached to each instrument.

No. . Guineas.

1. Eight Stops (three and a-half rows of vibrators), Rosewood Case 45

2. Twenty-two Stops (six rows of vibrators), Rosewood Case ... 70

3. Twenty-two Stops (eight rows of vibrators), Rosewood Case, 2{

Octaves of Pedals 85

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Printed by Gkokoe Anmniw Sputtiswooob, of No. 12 James Street, Buckingham Gate, in the Parish of St. Margaret, in the City of Westminster, at No. 5 New-- Square , In the Parish of St. Bride, in the CltJ of London. Published by Joust Booiet, atthe Office of Boosav U Somi, 28 Holies Street—Saturday, July 19,1862.

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"The Wobth Of Aet Jlpi-eabs Most a ll Music, Since It Beqcires No Material, No Subject-matter, Whose Effect MUST BE Deducted: It Is Wholly Form And Power, And It Raises And Ennobles Whatever It Expresses" Glithe.

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

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EXETER HALL, WEDNESDAY next, July 30. Under the immediate patronage of Her Royal Highness the Duchess of Cambridge, Her Royal Highness the Grand Duchess of Mecklenburgh-Strplitz, Her Royal Highness the Princess Mary of Cambridge, the Viscountess Falmouth, Countess Grey, Dowager Lady Radstock, Lady Charles Wellesley, Lady Grey, Lady Becher, Mrs. Tait (Isondon Houie), Miss Burdett Coutte, the Lady Mayoress, Mrs. William Gladstone. »

Production nfaNRW ORATORIO, by Joseph Ru Dolph Schaciinrr, in BEHALF of the BRITISH COLUMBIAN FEMALE EMIGRATION SOCIETY.

The Committee of the above Society beg to announce that a New Oratorio will be produced at Exeter Hall, on WEDNESDAY EVENING next, July 30, entitled ISRAEL'S RETURN FROM BABYLON, in Four Parts—1. Captivity; 2. Deliverance; 3. Reconciliation and Return to Zion ; 4. Promise and Song of Praise. Composed by Joseph Rudolph Schachnbr. Principal vocal parts by Mile. Titiens, Mad. Lapra Baxtkr, Mr. W. Wbisb. and Mr. Sims Reeves, with a Chorus of SCO Voices (members of the National Choral Society), and a Band of the most eminent professors.

Conductor: Mr. Alfred Mellon. Reserved and numbered seats, 21s. ; west gallery and side feats (area), 10s. Gd.; unreserved seats, 5s.—which may be obtained r.t Mr. Mitchell's Royal Library, 33 Old Bond Street; and at all the principal libraries and music warehouses.

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UEEN'S CONCERT ROOMS, HANOVER

SQUARE—Mr. LEONARD WALKER has the honour to announce that his FIRST CONCERT will take place at the above Rooms on Monday evening, August 11th, to commence at Eight o'clock precisely.

Vocalists: Mad. Gordon, Miss Alice Dodd, Mike." Gf.orgI, the Misses Hiles, Mlle..Moi»TEDELLA, Miss Lamaktine; Mr. Wilbye Cooper, Mr. Swift, Mr. George Per Kin, Mr. Charles Fabian, Stgnor Ciabatta, and Mr. Leonard Walker.

Instrumentalist*: Pianoforte— Herr Emilr Bergbr and Master Fox; Harp—Hcrr Obertui R; Flute—Mr. B. Wells.

Conductors: Mr. Aguilar and Herr Euils Bergbr. Stalls, 7s.; reserved seats, £s.; unreserved seats, 2s. 6J. Tickets to be had at the principal Musicsellers*; at the Hanover Square Rooms; and of Mr. Leonard Walker, & Newman Street, Oxford Street.

IN A MUSIC WAREHOUSE. — WANTED, an

JL Assistant for the Counter; must be a good Salesman, and of gentlemanly manners and address.

Direct, Brighton

stating Salary required, age and qualifications, to Y.Z., 2 Castle Square,

GEORGI will sing "PENSA ALLA

(Rossini), and " BY THE SAD SEA WAVES" (Benedict), at

MLLE.
PAT1UA .
Mr. Leonard Walker's Concert, August II.

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R. SWIFT will sing Balfe's admired new Song, " SI

TU SAVAIS," at Mr. Leonard Walker's Concert, August II.

MR. GEORGE PERREN will sing Asciieu's popular Song, "ALICE, WHERE ART THOU?" at Mr. Leonard Walker's Concert, Hanover Square Rooms, Monday Evening, August 11.

w MISSES HILES will sing the Duet for Soprano

J- ami Contralto, "O GLOKIOUS AGE OF CHIVALRY," from Mr. Howard Glover's popular Operetta of " Once too Often," at Mr. Leonard Walker's Concert. August 11.

MR EMILE BERGER will play his popular Solo, "LES ECHOS DE LONDRES," at Mr. Leonard Walls Concert, August II.

MR. ALBERT DAWES will play his new Solo, "AULD LANG SYNE." on Cadby's Piano, under the Eastern Dome of the International Exhibition, on Monday next at Two o'clock.'

L FREDERIC ARCHER (formerly 'A' of the Royal Panopticon, and at present Organist of St. Peter's Church, Notting Hill, Christchurch, Remington Park, and the International Exhibition) is desirous of RECEIVING a YOUNG GKNTLEMAN into his house to reside and pursue his musical studies. To one capable of accompanying a plain service Mr. Archer can offer unusual advantages, and would at the same time be happy to accept partially reciprocal terms.—8 Lansdowne Road North, Kensington Park, W.

PRECENTOR WANTED for South College Street United Presbyterian Church. Candidates must have a thorough knowledge of Music, and be qualified to instruct the congregation in Psalmody, and to conduct a choir. Salary *?50. Applications, with testimonials of character and qualiflcaUons, to be lodged with Mr. Alexander Thomson, 0 Newington Terrace, on or before the 1st September next. Edinburgh, 19th July, 1SC2.

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