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wrote "La Calunnia") with spirited emphasis, the latter by Sig. Bcttini, who had the good taste not to reject the one air allotted by Mozart to the cunning music-master, and by the great majority of gingers too frequently omitted. The band, under the careful and thoroughly competent guidance of Sig. Arditi—in spite of many of the pieces, including the overture, being taken too quick, and some few too slow—performed its duties with great efficiency, an occasional "piano" (it would be too much to ask for it "pianissimo") being pretty nearly all that was wanting. About the raise en scene there is nothing particular to say. The attractions of Mozart's music are, it may be presumed, so powerful that they stand in no need of extraneous aid ; at least, such would seem to be the conclusion occasionally arrived at. All shortcomings, nevertheless, allowed for, the revival of Lt Nozze di Figaro at Her Majesty's Theatre may fairly be recorded as one of the most interesting musical events of this unpreccdcntedly busy season.

On Tuesday the Nozze di Figaro was repeated. On Wednesday Don Giovanni, with Mlle. Carlotta Marchisio (for the third time) as Donna Anna.

On Thursday Semiramide—for the last time this season.
On Friday a morning performance of II Trovatore,
To-night Robert le Diable.

Besides Sig. Schira's new opera (Nicolo de' Lapi), it cantata, the composition of Sig. Giuglini, is in preparation, the latter to be performed at the popular tenor's benefit.

Conarts.

Mr. Arthur Napoleon gave a concert at the Hanover Square Rooms, on Thursday morning, June 26th. The pianoforte performances were necessarily the most important features of the programme. These included Beethoven's trio for piano, violin, and violoncello; Mendelssohn and Moschcles' grand duo on Vreciosa for two pianofortes; fantasia on the Ballo in Maschera, the composition of Mr. Arthur Napoleon; and several solos. The remarkable talent of the young "virtuoso" was never rendered more conspicuous. Not only did his playing evidence that rapidity of finger and brilliancy of execution to which his childhood pointed, but a genuine feeling for the beauties of the classic school, as was manifested in Beethoven's trio, which, by the way, with the assistance of Herr Pollitzer and M. Paque, was a really masterly performance. The fantasia on airs from the Ballo in Maschera exhibited Mr. Arthur Napoleon as a composer almost in as conspicuous a light as a manipulator. In the duet for two pianofortes, by Mendelssohn and Moschcles, Herr Bauer presided at the second piano, and the performance of that brilliant piece was admirable. A violoncello solo by M. Paque, a harp solo by Mr. Aptommas, and a violin solo by Herr Pollitzer, were the other instrumental performances. The vocalists were the Sisters Marchisio, Mile. Parcpa, Mad. Lctizin Borgognoni, Mad. Nita Norrie, M. Gasser, Sigs. Bcttini and Zucchini. The Sisters Marchisio created tho usual sensation in tho duet, "Dch! con te" (Norma), and Sig. Bcttini gave the charming romanza, "Una furtiva lagrima," from the Elisir d'Amore, with genuine taste. Herr Wilhelm Ganz, Messrs. John Wilson and Land, were the conductors.

Mad. James Dryden gave a soirie musicalc] at the Beethoven Rooms, Harley Street, on Thursday, the 19th ult. Tho lady is a clever pianist and harpist, and no indifferent singer, and in all three capacities she signalised herself on the evening in question, and showed excellent judgment by suiting her performances to her talents. For her instrumental share of the programme she selected De Beriot and Fauconier's Duo for piano and violin, played with Herr Deichmann; and for solos, Grand Valsc, by Chopin, for the pianoforte, and Labarre's Fantaisie on Irish airs, for the harp. Her vocal contributions comprised, duet, "Oh! di quale outs," from Nabucco, with Mr. Theodore Distin; Kiickcn's duct, " Tho dawn of day so early," with Miss Topham; and Rossini's trio, "Ln Caritft" (without chorus, and consequently shorn of its strength), with Mile, de Villar and Miss Topham. Miss Rose Hcvsee's singing of Mr. Wallace's ballad, "When the elves at eve do pass," and the cavatina, "Com' c hello," from Lucrezia Borgia, is entitled to special distinction among the vocal performances.

The Matinee Musicale of Herr Leiimeter — date, Thursday, June 26—is particularly noticeable for the classic taste which pervaded the programme. Beethoven's sonata in G major, Op. 30, for pianoforte and violin; the Fame composer's Grand Trio in B flat, Op. 97, for pianoforte, violin and violoncello; Mendelssohn's Lieder Ohne Worte, Books 6, Nos. 4 and 6; and Moschcles and Mendelssohn's "Grand Duo o Variazioni " for two pianofortes, were the instrumental features, Herr Lehmeyer haviDg for his assistants M. Kcttenus (violin), M.

Paqne (violoncello), and Herr Nicholas Rubinstein (piano). In point of execution the duct of Moscheles and Mendelssohn decidedly carried away the palm. In addition, Herr Lehmeyer performed his own Impromptu "The Mariner's Hymn," and "Serenade Turc," Chopin's "Berceuse," and Hensclt's "La Fontaine." Also ft solo on the harp was played by Signor Bcllotta, who showed a good harp with good strings. The vocal music was well chosen, and, the singers being Miss Anna Whitty, Miss Augusta Thomson, Miss Eleanora Wilkinson, and Mr. Tcnnant, could not fail to prove most acceptable. Miss Anna Whitty—the young lady with the immense provincial reputation—sang the romance from Otello and the rondo finale from Cenerentola, thug showing that at all events she would wish to be thought a Rossinian singer. Miss Angustn Thomson aspires higher than Miss Whitty by some half-octave, and would fain be chronicled as a brilliant bravura singer. Both ladies may be fairly said to have accomplished their desires. The new song of Sig. Pinsuti, " Hast thou no tear for me?" was very neatly sung by Mr. Tennant. for whom it was expressly written. Mr. Wilhelm Ganz presided at the pianoforte.

Sio. And Mad. Ferrari's second reception, at their handsome residence, Gloucester Terrace, was, if possible, more fully and fashionably attended than the first. The attraction was the performance of the Cambridge "Installation Ode," composed by Professor Sterndale Bennett. Mile. Titiens, who sang the soprano part at Cambridge, was to have undertaken it on the present occasion, but at the last moment an apology, on the score of illness, arrived, and Mad. Ferrari, with the talent she is so well known to possess, undertook the arduous task of singing the part, d livre ouvert, and accomplished it in a manner that must have fully satisfied the composer, who presided at the pianoforte, as it did the audience, who rewarded the efforts of the fair vocalist with enthusiastic applause. Mr. Wilbye Cooper, who had already sung the tenor part with Mile. Titiens at Cambridge, acquitted himself with his accustomed ability, and gained universal credit by the way in which he gave the air "Can we forget one friend?" The chorus, under the able superintendence of Mr. King, consisted of some of the best members of Mr. Leslie's choir, and several of Sig. and Mad. Ferrari's pupils; we need hardly say that they performed their allotted task admirably. Besides the "Installation Ode," there were vocal and instrumental contributions by several distinguished artists, among whom we may cite Mile. Guerrabella, who sang " Bel raggio" {Semiramide) capitally; Mad. Ferrari, who gave Herr Ascher's "Alice, where art thou?" with great effect; Mr. Wilbye Cooper, whose singing of Sig. Ferrari's admired serenade, "Vieni, vieni," was everything that could be desired; and Mr. Tennant, who created a marked sensation by his admirable singing of the new song, composed for him by Sig. Pinsuti, entitled " Hast thou no tear for me?" The most attractive instrumental performances were those of Mile. Schiller, in a sonata of Beethoven, which she played faultlessly; and Herr Ascher, in the transcription of his romance "Alice," and in his "Danse Negro," both of which are strong pieces, and were [stoutly played. A duet by Degola, sung by Sig. and Mad. Ferrari, was, one of the decided features of the performance.

Herr Wilhelm Kuhe's Asnuai. Concert—almost invariably an entertainment on a monster scale—given on Thursday, the 26th 'ult.. at St. James's Hall, was this year as lengthy and important as ever. With all its " monstcrivity "—as the facetious writer in the Sunday Times might term it—and its mixed miscellaneous character, Herr Kiihe did not forget his classical reputation, but recommended it strongly by Dussek's sonata in B flat for pianoforte and violin, in which he had the good fortune to be joined by that great master of his instrument, M. Sainton. As may be supposed, Herr Kiihe was not undesirous to slow bis patrons how well he could compose as well as how well he could play; and, accordingly, he introduced and performed his own fantasia on " God save the Queen," entitled " Victoria," and his solo, " Hommage a Meyerbeer," and manifestly afforded high satisfaction, both as creator and executioner. Herr Kiihe, moreover, played Chopin's Nocturne and Valse; M. Sainton contributed his own fantasia on Scotch airs, and Mr. Aptommns a harp solo. The vocal music was in excess. It was intrusted to Mesdames Guerrabella, Lcmmens-Sherrington, Steele, Sainton-Dolby, Vestvali, Fraulein Leibhart; Mr. Tennant, Herr Reichardt, and Herr Formes. We do not intend to take an account of the various performances of these artists, in which there was nothing either new or unexpected, as may be gathered from there being no encores. The conductors wero Messrs. Benedict and Francesco Berger.

A Grand Evening Concert was given at St. James's Hall, on Tuesday evening, June 24th, in aid of the funds of the 29th North Middlesex Rifle Volunteers, under the most high and noble patronage. The following artists appeared:—The "Sisters Marchisio," Miss Stabbach, Mile. Gcorgi, Messrs. Allan Irving, Ramsden, Moss and Winn, as vocalists; and Miss Cecilia Summerhayes and Mr. Henry Baumer (pianoforte), Mr. Henry Blagrove (violin), and Mr. Richard Blagrove (concertina), as instrumentnli-ts. The "Sisters Marchisio" sang two duets, "Deb! con te," from Norma, and Mercaduntc's "Dolce conforto j" Mile. Carlotta, soprano, in addition, supplying the romance "Sombre foret," from Guillaume Tell, and Mile. Barbara, contralto, the rondo finale from Cenerentola. The "Sisters," singly and pairly, were loudly applauded, and were in high favour with the military part of the audience. Among the instrumental performances we may cite Miss Cecilia Summcrhaycs in Thnlberg's fantasia on English national airs, and Mr. Richard Blagrove in a solo on the concertina, as particularly effective. The latter was encored. Benedict and David's Concertante Duet for violin and piano, performed by Miss Sutnmerhayes and Mr. Henry Blagrove, was also an excellent performance, and received with immense favour. The conductors were Sig. Randegger, M. Emile Berger, and Mr. W. H. Adams.

Dudley House, Park Lane.—The Earl of Dudley, Prince Potentate of the Fine Arts, ever ready to assist artists of honourable name, having kindly accorded his magnificent Picture Gallery, at his residence, Park Lane, for the use of Mrs. Merest, that accomplished artist gave a concert there on Tuesday, the 24th ult., under a very load, as we may term it, of aristocratic patronage. The vocal performers comprised Mile. Titiens, Mad.Weiss, Miss Millar, Mad. Merest, Hcrr Reichardt, Mr. Weiss and Mr. Santlcy j the instrumental, Mrs. Sidney Pratten (guitar), HerrLidel (violoncello), Mr. Lazarus (clarionet), and Mr. Charles Hallo (pianoforte). Mrs. Merest contributed large instalment of the programme, comprising Haydn's canzonet, "She never told her love ;" the air from Mehul's Joseph, "Ere infancy's built'' her own ballad, " I heard thy fate without a tear;" besides joining Mile. Titiens in Mercadante's duet, "Di conforto;" Mile. Titiens and Mad. Weiss in the trio from Elijah, "Lift thine eyes;" Herr Reichardt in the duet, "Si la stanchezza," from the Trovatore; Mad. Weiss and Miss Millar in Spohr's trio, "Night's ling'ring shades ;" Mad. Weiss and Hcrr Reichardt in Winter's trio, " Mi lasci, o madre," &c. &c. &c. Mrs. Merest's fine deep contralto voice, her pure and admirable expression, and her earnest manner, made a powerful impression on her distinguished auditory. Of applause, in such a locality and from such an assemblage, no great amount could be expected. That the fair bfnificiairc, nevertheless, had created a marked sensation could not be disputed. Mile. Titiens' singing of the air " Vanne, vanne," from Robert le Diable, Herr Reichardt's singing of his own song " Good Night," and Mr. Santley's performance of the romance " Pieta rispetto amore," from Verdi's Macbeth, were especially good. Mr. Charles Halle played two pieces by Chopin, Nocturne in F sharp,'and Fantaisie Impromptu, and joined Mr. Lazarus and Herr Lidel in Beethoven's trio for pianoforte, clarionet, and violoncello— all splendid performances. In short, the concert was of a first-rato character, and afforded the utmost gratification.

Assembly Rooms, Eyrb Arms.—Miss Susanna Cole gave a concert of more than ordinary attractions on Monday evening at the above rooms, which was honoured by the presence of most of the fashionables residing in the ^neighbourhood of St. John's Wood. The programme contained more than enough to please all tastes, and, indeed, in the classical items would have furnished ingredients for a small Monday Popular Concerts. When will concert-givers learn to know that "enough is as good as a feast?" It would have taken R strong musical audience—the strongest St. James's Hall could bear—to sit out Beethoven's trio in C minor for pianoforte, violin, and violoncello j the "Moonlight sonata," for pianoforte, of the same composer ; Weber's pianoforte sonata in C major, with solos on the violin, violoncello, and flute. But when we mention that there were in addition some twenty vocal pieces to be performed, it will excite no surprise that the audience were thoroughly worn out long before half the selection was gone through, and that, though the room was crowded at the commencement, there was a beggarly account of empty benches at the termination. When Miss Susanna Cole next gives a concert, she should present herself oftener, and not bring forward so much that is so far beneath herself. Her name stands high among our English sopranos, and she should not make her benefit an occasion for advancing the interests of certain friends instead of simply recommending her own talents. At all events, one-half of the programme of her last concert might have been decently omittedrand the public would be more likely to bear the next in their remembrance. Under the circumstances it will be enough to state Miss Cole's share of the performances, and to select a few pieces that merit special approval. Miss Cole commenced with the " grand " scene from Mr. Wallace's Lurline," Sad as my soul." The charming andante, "O thou to whom this heart "—one of the composer's most expressive and genuine melodies—was beautifully and chastely given, and had a far greater effect than the recitative and allegro movement at the end. Miss Cole's style does not belong to the so-called "grand." Her other

solo efforts were the new ballad, written expressly for her, called " The Vesper-bell," and Bishop's song, "Tell me, my heart." Both were Bung with perfect voice and sentiment, and were received with transport. Miss Cole also joined in sundry pieces with Mad. Gilbert, Mrs. Dixon, Mrs. Lockey, Mr. II. Regaldi, and Mr. Chaplin Henry. Among the songs best sung, after those of Miss Cole, may be mentioned Mozart's "Io ti lascio," by Mrs. Lockey (our best contraltos might even now take a lesson from this lady); Mad. Gilbert's "Dove sono," and Mr. W. Harrison's "Eily Mavourncen." These were excellently sung and loudly applauded. Mr! Harrison had to obey a universal call for a repetition, and gave " When other lips" instead. Messrs. Baumcr and Alfred Gilbert conducted.

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NEW AND REVISED EDITION.
Price 128.

THE VOICE AND SINGING.

BT

ADOLFO FIEEARI.

"*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 Talue.

*' 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 vocal instructors both in the metropolis and the provinces. We say vocal Instructors, because It Is 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, aod 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, in constantly reminding them of, and enabling them to profit by, the lessons of their master. In both these ways Signor Ferrari's work lias been found pre-eminently useful.

M The foundation of tinging 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 by 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 leader 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 * trachaa,* but we have a broad principle distinctly enunciated, and intelligible to everybody.

"Signor Ferrari's principle is of the simplest kind. 4 Kvcryone,* he says,1 who can speak may sing. The only difference between speaking and singing is, that in speaking we strike the sound impulsively and Immediately leave !t, 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 are 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 the objects of the scales and exercises on sustained sounds, which must be practised under the careful superintendence of the teacher, whose Assistance Signor Ferrari always holds to be indispensable.

"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 spcaky they acquire badhabits, and contract an habitual tone which is mistaken for their natural voice. It Is a result of this neglect, he says, that 1 the young ladies of the present day speak In a subdued, muffled tone, or what may be called a demi-f.ilsetto, in consequence of which very few natural voices arc 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 tunc, and finally lotes her voice, and In too many instances injures her chest. * Indeed,' he adds, ' I have no hesitation in saying that hundreds of young ladles bring upon themselves serious chest affections from abad 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 ndvise too strongly the greatest attention to the free and n.itural development of the lower tones of the voice. It is to the stability of the voice what a deep foundation Is to the building of a house.'

*' Signor Ferrari deprerates, 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 cr eighteen, by which time they ought to be good singers. In regard to the important question how long the pupil ought to practise, he observes that this wilt depend on the acquisition of a proper method. The mure a pupil practises with an improper intonation the worse; but once able to sing with a natural tone, hp may practise two, three, or more hours a day without danger. All Signor Ferrari's precepts are of the same sound and rational character.

"The exercises, embracing the scales, and all the various passages which belong to modern melody, are sufficiently copious and admir.-.bly adapted to their purpose. In the original 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 arc added for contralto or barytone voices — a very great addition to the value of the work." — Illustrated Keirs, April 5.

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

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

"ONCE TOO OFTE N."

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

'Oh I Glorioui Age of Chivalry." Duct. Sung by Mile. Jennt Bara and Mist Emma Hbtwood

'The Solemn Words his Lips hare spoken." Grand Air. Sung by Mile. Jenny Baub ...

'The Lore you've slighted." Ballad. Sung by Mile. Jennt Bad*

'Stratagem it Woman's Power." Ballad. Sung by Miss Emma Heywood

'Love Is a gentle Thing." Ballad. Sung by Mlai P.mma Hevwood

'A Young and Artless Maiden." Romance. Sung by Herr REICHAEDT ...

'There's Truth In Woman Mill." Romance. Sung by Herr Heicbabdt ...

'The Monkt were Jolly Boyt." Ballad. Sung by Herr Fo«M»

4 In my Chateau of Pomperuik." Aria Buflj. Suug by Herr Formes ...

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FANTASIAS, QUADRILLES AND WALTZES.

Brlnley Richards' Fantasia, on " Onca too Often " M „ ... 4s. od.

Etnile Berger't Fantasia, on " Onca too Ofcon" ... as. Od.

"Fontainbleau Quadrille," by Strauss. (Handsomely Rostrated In Colours) 4s. Od.

"La Belle Blanche Walti," ditto 4t. Od.

"Mr. Glover't operetta Is a decided, and what Is better, a legitimate,1 hit.' The songs before us have already attained a well-merited popularity. 'The monkt were jolly boys' it 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 Forrnca. 1 The love you've slighted still Is true' (for Mile. Jenny Banr) hat » melody of charming freshness. Not less a model ballad in its way is ' A young and artless maiden 1 (for Herr Reicliardt), which sets out with an clegaotly melodious phrase. Perhaps moro to our liking, however, than any of the foregoing, excellent and genuine at they are. Is 'Love It a gentle thing' (for Mist Emma Heywood), which enters the more refined regions of the ballad-school, and attaint an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils."—Musical World, Di'ncan Davison & Co., 144 Regent Street, W.;

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CHAPPELL'S MUSICAL MAGAZINE

VOCAL AND PIANOFORTE MUSIC,

EDWARD F. BIMBAULT.

1. Thirteen Songs, uv M. W. Balm.

2. Ten Songs, by the Hon. Mrs. Norton.

3. Ten Songs, by Wallace.

4. Ten S:>ngs, by Mozart, with Italian and English Words.

8. Tsrelvcj Sacred Songs, by John Barnett, George Barker, the Hon. Mrs. Norton,

Charles Glover, arc. 0. Twelve Songs, by Handel. Edited by G. A. MnctarrtQ.

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

8. Fortv Polkas, by Charirs D'Albert, Jullicn, Kamig, tic.
Fifty" Valses, by D'Albert, Gung'l, J.anner, Strauss, LabiUky, &c.
Nine Pianoforte Pieces, by Brinley Richards.
Six Pianoforte Pieces, by Wallace.

Beethoven's Sonatas. Edited by Charles Halle (No. 1). Containing Sonatas

Nos. 1 and 2 of Op. 2, complete.
Twelve Popular Duets for Soprano and Contralto Voices.
Ten Songs, by Schubert.
Eighteen of Moore's Irish Melodies.
Twelve Sacred Duets.

Nine Pianoforte Pieces, by Osborne and Liodab).
Twelve Songs, by Verdi and Flotow.

Favourite Airs from the Messiah. Arranged for the Pianoforte.
Bcethoveu's Sonatas. Edited by Charles Halle (No. 2). Containing Sonata

No. 3vjf Op. 2, and Sonata Op. 7, complete.
Nine Pianoforte Pieces, by Aacher and Goria.
Twenty-one Christy and Buckley Minstrel Melodies.
Twenty-five Juvenile Pieces for the Pianoforte.
Thirteen Popular Songs, by the most popular composers.
Sims Reeves' Popular Songs.
D'Albert's Galore, Mazurkas, &c.
Five Sets of Quadrilles as Duets, by Charles D'Albert.

Beethoven Sonatas. Edited by Charles Halle (No. 3). Containing the Sonatas

Nos. 1 and 2 of Op. 10. Ten Contralto Songs, by Mrs. Arkwright, Hon. Mrs. Norton, &c, Beethoven Sonatas. Edited by Charles Halle (No. 4). Contatnrng the Sonata

No. 3 of Op. In, and the Sonata Pathetique. Beethoven's Sonata;. Edited bv Charles Halle (No. 5). Containing Sonatas Nos. 1 and 2 of Op. 14.

Beethoven's Sonatas. Edited by Charles Halle (No. 6). Containing Sonata Op.

22, and Sonata Op. 26, with the celebrated Funeral March. Juvenile Vocal Album, containing Songs, Duets, and Trios.

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

35. Vocal Christy Minstrel Album. A New Selection.

36. Christy Minstrel Album, for Pianoforte alone.

37. Standard Dance Music, comprising 72 Country Dances, Hornpipes, Reels,

Jigs, ftc.

38. Fashionable Dance Book, consisting of Quadrilles, Valses, Polkas, Galops,

Schottisches, &c. 30. Christy Minstrel Song Book. A New Selection. 40. Valtea by D'Albert and other eminent Composers.

31. 32.

33. 31.

The whole of the Songs are printed trrtA Pianoforte Accompaniments.

CHAPPELL'S NEW MUSICAL ALBUMS,

In Volumes, beautifully bound in various coloured cloth, with gold letters, borders, and gilt edges. Price 4s. each.

CHAPPELL'S ENGLISH BALLAD ALBUM; containing 3G Songs by Balfe, Wallace Barker, Glover, Linltr, Loter, and other Popular Composer*, all with Pianoforte Acrompaiilments. 1>rice 4s' bound and Silt edges.

CHAPPELL'S ALBUM DE DANSE for the Pianoforte; containing 10 Sets of Quadrilles, 5U Valses, 40 Polkas, chiedy by Charles D'Albert, Price 4s., bound with gilt edges.

CHAPPELL'S SECOND ALBUM J)E DANSE for the Pianoforte; containing Quadrilles, Valses, Polkas. Galops, Schottisches, Vaj-sovianas, Polka - Mazurkas, Rpdowas, and French Country Dances, by Charles D'Albert, &c. Price 4s., bound with gilt edges,

V 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 Accowpaninoents, including "I'm leaving thee in sorrow, Annie," "Friends of my youth," " I'm returning to thee, Annie," " Rosaline," &c. Price 4j., bound, with gilt edges.

CH\PPELL*S SACRED VOCAL ALBUM contarns 3fl Songs and Duets, by Handel, Barnett, Glover, the Hon. Mrs. Norton, Smart, Abt, Moore, Marcello, &c. Mce 4f., bound, with gi4t 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.

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THE NEW OPERETTA, BLONDE OR BRUNETTE,

WRITTEN BY
J. P. WOOLER, ES Q.,

THE MUSIC COMPOSED BY
W. M. LUTZ.

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ACT I. 1. Overture. 2. Duet. “Sir! my sister's reputation." Tenor and Barytone ... 3. Song. "Merry little Maud." Tenor ... ... .... 4. Duet. “ See your lover at your feet." Sopranos ... ... 5. Duet. “Is that what all lovers say?" Soprano and Tenor 6. Trio. "Whoe'er would trust." Sopranos and Barytone 7. Song. "'Tis gone! the Hope that once did beam." Soprano 8. Song. "Hurrah ! for the Chase." Barytone ... .. 9. Finale. “ Farewell, for ever."

ACT II. 10. Serenade. “As I lay under the Linden Tree." Tenor 11. Ballad. “Love's brightest dream." Soprano ... 12. Quartet. “Ah! I fear he sees resemblance.” Soprano, Tenor 13. Song. "The Belle or Ballingarry." Soprano ... ... ... ... 14. Duet. “ Which is mine, the hand or flower ?" Soprano and Tenor 15. Song. “How oft unkindly thus we chide.” Barytone ... ... ... ... 16. Trio. " Hold ! you wish to fight, I see." Soprano, Tenor, and Barytone ... 17. Ballad. “Sweet Maiden, mine!” Tenor ...

* ... ... ... 2 18. Fipale. "Mine, at last."

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Pianoforte and other Arrangements in the Press.

No. 1.-Overture

2.- In the third year ... ... Recit --Contralto.
3.—How doth the city sit solitary Recit. Acct.-Contralto
4.-Judah is gone into captivity

Chorus.
5.--In the second year ... ... Recit.- Bass.
6.-There is not a man ... ... Chorus.
7.-Then Daniel spake and said

Recit.- Tenor.
8.-But there is a God in heaven

Air.— Tenor. 9.-Then was the secret revealed ... Recit.--Soprano. 10.-- Blessed be the name of God ... Air.- Soprano. 11.-He Revealeth the deep and secret

things ... ... ... ... Chorus. 12.-Nebuchadnezzar the King made an

image ... ... ... ... Recit.- Suprano. 13.-Confounded be all they ... ... Air. -Soprano. 14.-Their idols are silver and gold ... Chorus. 15.-- For Thou, Lord, wilt give Thy blessings Air.-Contralto. 16.-Wherefore at that time ... ... Recit.-Bass. 17.-These men, O King ... ... Chorus. 18.-Then Nebuchadnezzar in his rage ... Recit. Acct.- Bass. 19. And who is that God ? ... ... Air.-Bass. 20.-Hath God forgotten to be gracious ? Air.-Soprano. 21.-Our God whom we serve ... ... Trio.-T. T. B. 22.—They that wait upon the Lord Chorus. 23.—Then was Nebuchadnezzar ... ... Recit. Acct. --Bass. 24.—How great are His signs ... ... Air.- Bass. 25.-Blessed art Thou ... ... ... Double Chorus. 26.-Belshazzar the King made a great

feast ... ... ... ... Recit. — Tenor. 27.-They drank wine ... ... ... Chorus. 28.-In the same hour ... ... ... Recit. Acct.-Contralto. 29.-Lo! this is the man ... Air.-Contralto. 30.–Then Daniel answered and said ... Recit. Acct.— Tenor. 31.-March of the Medes and Persians ... 32.-In that night

Recit.-Bass. 33.-How art thou fallen

Quartet.-S.C.T. B. 34.-The Lord hath broken

Chorus 35.—My mouth shall speak

Air.- Bass. 36.—For He is the living God ... Chorus. 37.-In all the things ...

Air.-Contralto. 38.-For we have sinned ... ... Chorus. 39.-Yet deliver us not up .. Air.-Tenor. 40.-To whom Thou hast spoken

Chorus. 41.-Behold, the days come

Recit.-Soprano. 42.-0 ye angels ... ... ...

Air.- Soprano. 43.-all ye powers ... ...

Chorus. 44.—Rejoice ye with Jerusalem ... ... Air.— Tenor. 45.—O give thanks

Double Chorus.

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In the Parish of St. Bride, in the City of London. Published by JOHN BOOSBY, at the Office of BoosEY & SONS, 28 Holles Street. Salurday, July 20, 100**

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