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THE ADELPHI THEATRE IN CHANCERY.

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It is not often that the general public shows itself in the Courts of Chancery. The nearest approach to a crowd in those placid realms of justice is on what is called " petition day," when a number of newlyfledged barristers are assembled to make to the Court applications which are disposed of almost instantaneously, and without any opportunity for the display either of eloquence or of legal lore. The officers of these Courts are so entirely unaccustomed to the presence of spectators, that it may be questioned whether they have the least notion how to control an excited crowd. Ordinarily, their only duty is to cry out "silence" when the buzz of conversation rises above the drone of argument. The idea that anybody's feelings could possibly be worked upon by an argument addressed to a Judge in Equity would have seemed, until the present week, preposterous. That very improper practice of expressing the sentiments of the audience at the conclusion of a counsel's speech was attempted, probably for the first time, on Tuesday last, and it was as promptly and severely checked as it deserved to be. The language of Vice-Chancellor Wood suitably expressed his indignation at this indecency, but whether the power he threatened to invoke would have been adequate to the occasion, may be doubted. An usher, who has usually nothing to do but doze, is scarcely likely to be wide awake enough to detect offenders in all parts of a crowded court. However, the majesty of the law is usually able to command respect in England without even sending for that policeman who possibly might prove to be engaged on urgent private affairs at the moment when his quick eye and ready truncheon would have been a valuable reinforcement to the somnolent and unwarlike usher. The offence of expressing applause on the termination of a counsel's speech was not likely to be committed more than once, for the very sufficient reason that only one of the counseling what plays were to be produced, and when, and under what condiengaged in the case before the Court had had occasion to cultivate the habit of speaking so as to please or excite a crowd.

The popular orator who thus ruffled the serenity of the Court of Chancery was Mr. Serjeant Ballantine. The cause of his appearance in that uncongenial region was the dispute which has arisen between those two distinguished actors and dramatic authors, Mr. Benjamin Webster and Mr. Dion Boucicault, who have quarrelled over their joint management of the Adelphi Theatre. Like many other men, whose habits and duties would be more likely to suggest caution, these two artists, when they were very good friends, made a rather loose agreement, to which, now that they are at variance, they call upon a Court of Law to give definiteness and stringency. Rather less than a year ago they entered into a kind of partnership for three years in the carrying on of the Adelphi Theatre. Either through carelessness or contempt for legal technicalities, the agreement into which they entered was not drawn up under professional advice, and hence the lawyers who did not make have been busy in endeavouring to expound it. Of course, too, when questions began to arise, and the diversities of interest had time to emerge, there was the usual infusion of acrimony into the proceedings; and thus by the absence of caution at the outset and the presence of irritability as things went on, sufficient provision was made for the rise and progress of a complicated and angry lawsuit. A bill was filed by Mr. Boucicault against Mr. Webster, and a cross-bill was filed by Mr. Webster against Mr. Boucicault. The object of the first bill was to restrain Mr. Webster from issuing announcements of a certain programme of performances at the Adelphi Theatre. The object of the second bill was to restrain Mr. Boucicault from acting or bringing out plays at Drury Lane Theatre during the subsistence of his partnership with Mr. Webster in the Adelphi. Advertisements had announced the early opening of Drury Lane Theatre, where Mr. and Mrs. Boucicault were once more to test the popularity of the Colleen Bawn. These advertisements had been stopped pending Mr. Webster's application to the Court, and he sought by his motion to prohibit their reappearance. But although it might be very desirable for Mr. Webster to confine to his own theatre the attractions of the Colleen Bawn, or at least of the artists who had made it and whom it had made famous, Mr. Webster had unfortunately forgotten to introduce a stipulation to that effect into the agreement. If A. and B. go into partnership in trade, it may be very injurious to A.'s interest that B. should go into partnership with C. in the same line of business in the next street, but, in the absence of any restraining provision, the law leaves B. quite at liberty to The contract between Mr. Webster and Mr. Boucicault did not contain any express restriction, and their practice since they entered into the contract tended to show that no such restriction had been intended-inasmuch as both parties had occasionally either acted, or allowed their plays to be performed, at other theatres besides the Adelphi during the existence of the partnership. As regarded Mr. Boucicault's suit against Mr. Webster, the agreement did contain a clause upon which the pretensions put forward by him might be

do so.

justified. That clause provided that "the stage and all its departments should be under Mr. Boucicault's control, and "the front of the house and its departments "under Mr. Webster's. The matter complained of was the issuing of play-bills announcing the intended reproduction of the Colleen Bawn and other prospective arrangements, to which Mr. Boucicault objected on the ground of various deficiencies, either of actors or of scenes and properties, which could not be supplied by the times named in the handbills. Mr. Webster seemed alive to the money-drawing quality of the Colleen Bawn at any rate to the extent of objecting to its production at Drury Lane; but he raised obstacles to its revival at the Adelphi, or at least to that sumptuousness of redecoration which the chief performer in it considered necessary. There was a question about two celebrated scenes - - the daylight view and the moonlight view of the lake. It appeared that the "water" of the Colleen Bawn had been "cut up" for some other piece, and it was necessary to paint these two scenes afresh. The "cloths " which Mr. Webster considered suitable for this purpose Mr. Boucicault declared to be so old and so thick with paint that scraping could do no good to them, and, therefore, he had ordered new cloths. Mr. Webster protested against this order, and indeed against everything else which Mr. Boucicault either had done or was likely to do in connection with the management of the theatre. There was also a question about filling for a time the part which has heretofore been so admirably acted by Mrs. Boucicault. On the one side, it was insisted that a certain lady was competent to succeed her, while on the other it was urged that, "when so many ladies were in the market," it would be easy to find a more efficient substitute. Mr. Boucicault contended that to him belonged, under the agreement, what he called "the artistic management" of the theatre, which would include the power of directtions; and, therefore, that the issuing of bills contrary to his intentions ought to be forbidden by the Court. The Vice-Chancellor seemed disposed to think that Mr. Boucicault was entitled to the power which he claimed, but he also thought very decidedly that Mr. Boucicault's engagement to act at Drury Lane Theatre would have a tendency to interfere with his exercising that power impartially for the benefit of the Adelphi; and, accordingly, he refused to grant the injunction which Mr. Boucicault desired.

The result, therefore, was that neither party got anything by his motion, except earnest advice from the Court to settle all matters in dispute without further litigation, which must necessarily prove ruinous to their common property. This advice, which was given early in the progress of the case, appeared at one time to have had the effect which all friends of the parties must have hoped for. Terms were proposed and partially agreed to, and while they were being reduced to writing the Court proceeded with some other business. Indeed, the whole matter would have been settled, but for a question about two ladies belonging to the company, whom Mr. Webster required Mr. Boucicault to take with him to Drury Lane, and Mr. Boucicault agreed to take, but with the proviso that they should themselves consent to go. Mr. Webster objected to this condition, and when Mr. Boucicault proposed that each party should undertake the burden of the engagement of one of these ladies unconditionally, Mr. Webster objected to that also, and thus the negotiation was broken off. The strife, of which these two ladies were the unwitting cause, raged hotly during the remainder of a long day, and it ended, as we have seen, in the defeat of both the contending parties. The theatrical profession and the general public which had crammed the Court in a very unusual way had dispersed, under the belief that the fun was over, when they saw wigged heads laid together in conference upon terms of compromise; and, therefore, when the fight actually did come off, the spectators were, not so numerous as might have been expected. However, the patience and sagacity of those who kept their places had at length their due reward. The compromise fell through, and the tedious affidavits having ultimately got read, Mr. Serjeant Ballantine addressed the Court somewhat in the style which the general public can understand and appreciate. The general public liked his speech so well as to commit the impropriety of applauding it.

It was remarked by the vice-chancellor that the Court could not undertake to give directions for the carrying on of the Adelphi Theatre. Certainly the notion of a judge settling play-bills in Chambers, and considering the advisability of new scenery for the Colleen Bawn, or of going into the market for a lady to replace Mrs. Boncicault, would be impracticable as well as ludicrous. Even the threat of the interference of the Court, although that interference had been withheld, might possibly have proved injurious; and therefore it was satisfactory to find, on visiting the Adelphi Theatre in the evening, that things were going on there as usual. The play-bill for the night had at its head the name of Mr. Webster as "sole proprietor and manager," and then followed the

name of Mr. Boucicault, with no capacity ascribed to him, but in very much larger type, as though Mr. Webster were disposed to let his rival have the pomp, and keep the power to himself. It is only fair to say that the accommodation for visitors to the Adelphi Theatre is most ample, and offers a very strong contrast to that obtainable in the Court of Chancery. In the Court where the managers and actors of the Adelphi spent that morning, able counsel practise before a distinguished judge. To speak in theatrical language, "the stage and its departments are maintained in the highest possible efficiency; but "the front," that is the arrangement for the public convenience, is deplorable. There are very few seats, and what there are have been so contrived that the occupation of them is a prolonged agony; whereas at the Adelphi Theatre you may get a stall well-cushioned and warranted to be two feet in width. If you are an admirer of Paul Bedford you will not despise this comfortable arrangement, inasmuch as it is reasonable to conclude that he who loves stout actors must himself be stout. But if you are a friend of Paul Bedford, you will hope that it may never be his fate to sit for a whole day on a hard and narrow bench in the Court of Chancery. Mr. Boucicault was forced to undergo that misery; but then he is a smaller and slighter man. It did not appear that a long day's imprisonment at all affected the spirit of his acting as the Yankee overseer. The tedious detention before Vice-Chancellor Wood did not impair the vigour of his eloquence in the court of Mr Justice Lynch; nor did the last-named eminent judge object to any amount of applause being bestowed upon the speeches delivered before his tribunal. Certainly, the Adelphi Theatre is quite itself, although it has been for a short time in Chancery. The "sensation drama" still moves the audience, or part of it, to pity, to horror, and almost to tears; and the "screaming farce" is still the cause of laughter so uncontrollable as almost to weary those in whom it is excited. Both the new and the old elements of popularity are in high perfection. You may see Mr. Boucicault, after fighting in the Arkansas duel, upheld between his two fair crutches, and you may see Mr. Paul Bedford fighting in the Exhibition Building, and upheld, when he gets a knock-down blow, by the mixed-pickle trophy which we have all admired. To describe this farce would be to spoil our readers' pleasure in witnessing it. We will only say that Mr. Bedford and Mr. Toole take refuge from the difficulties and perils into which they fall- the one in the disguise of a diver, and the other in that of an Esquimaux, whose costumes arc made to adorn the Exhibition, in the immediate proximity to the mixed-pickle trophy. Each stands rigidly on his pedestal, when first one and then another pair of visitors pass that way. The first pair consists of Mr. Toole's intended wife, to whom a sergeant of the Lifeguards is making love. The second pair consists of Mr. Bedford's actual wife, receiving the attentions of one Mr. Bobbin. When we say that these flirtations are carried on at the bases of the respective statues, we shall sufficiently indicate that the fun of the Adelphi Theatre has not been spoiled by the contact of its managers with the gravity of the Court of Chancery.

MONDAY POPULAR CONCERTS.

THE large number of persons unable to obtain admission to the director's benefit (on July 7th) warranted the announcement of two extra performances (101st and 102nd), the first of which took place on Monday night, in presence of one of those enormous crowds which the Monday Popular Concerts so often have the privilege of drawing to St. James's Hall. The programme was identical with that on the occasion alluded to; and the visitors to London, both from abroad and the country-who, by the way, formed the great majority of the audience had an opportunity of judging what sort of music and what sort of playing, in the winter and spring months, form a perpetual theme of praise in the mouths of those who believe that genuine art, when fairly represented, is by no means necessarily beyond the understanding and recognition of the "mixed multitude." It is only fair to add that the comparatively untutored amateurs of Monday night were in no way behind their more experienced contemporaries—most of whom have probably had enough of music, even of classical music, for the present in their appreciation of the rich harmonious treat prepared for them by the director of the Monday Popular Concerts. They listened to the quartet (Mendelssohn's magnificent "No. 5") with an interest and undeviating attention that showed how completely it had engaged their sympathies, and especially applauded the scherzo, which, like the rest of the work, was delivered con amore and to perfection by MM. Joachim, Ries, R. Blagrove, and Piatti; they heard with unfeigned delight the quaint sonata of Boccherini, which Signor Piatti, the incomparable violoncellist, enjoys the credit of having been the first to revive, and which he plays as, we may safely say, no one else could play it; they even entered into the spirit of Domenico Scarlatti's Harpsichord Lessons, three of which were given by M. Charles Hallé

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with a vigour and neatness of finger peculiar to himself; and as for the mournful and profoundly touching Elegie of Herr Ernst-sung on his instrument by Herr Joachim like some inspired and impassioned minstrel, with a fiddle for a voice-they encored it with an enthusiasm wholly uncontrollable. Not less to their taste were the songs-all right excellent in their way. Spohr's delicious "Bird-song" and Haydn's tender canzonet, "Fidelity," both most gracefully rendered by Miss Banks, were particularly admired and applauded; Schubert's impressive "Wanderer "which it would be difficult to declaim more impressively than Mr. Weiss, or with truer dramatic feeling-was redemanded "with one voice;" while the pieces set down for Mr. Sims Reeves-who in each instance sang his very best created a positive furore. Two of them "Dalia sua pace" (Mozart), and "The Stolen Kiss" (Beethoven) were encored with rapture; and the same compliment might have been fairly accepted on behalf of the plaintive and charming Savoyard" (also one of those genial and inimitable "trifles of Beethoven, who infused heart and soul into his smallest compositions, but that it was to be immediately followed by another song of a gayer and more sparkling character. Conscientious and unbending enemy as Mr. Reeves is (and who can blame him ?) to the "encore system, in its too frequently indiscriminate application, he was unable in pure courtesy to refuse compliance with such hearty and unanimous demands. The superb sonata for piano and violin—in the dedication of which to Kreutzer Beethoven immortalized a name that might otherwise, in process of time (by this time, indeed) have been forgotten-splendidly executed by MM. Hallé and Joachim, brought this admirable concert to an end with appropriate brilliancy and éclat. Mr. Benedict accompanied the vocal music with his accustomed ability.

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At the concert on Tuesday (the 102nd) the crowd was just as great. The instrumental pieces were all from Beethoven, and included the noble quintet in C for stringed instruments (No. 2), which was at the head of the programme. The players were MM. Joachim, Ries, R. Blagrove, Broedelet, and Piatti, and a finer performance has rarely been heard. The attention of the audience was unremitting, and the applause tremendous. The quintet was followed by a duet ("Lauda Sion") from Cherubini, sung by the Sisters Marchisio, who were recalled. A new (and pretty) ballad called "Lucy," by Mr. Macfarren, and Mozart's well-known "Addio". the first sung by Mr. Wilbye Cooper, the last by Mile. Barbara Marchisio - — came next; the first part terminating with the Sonata Patetica, of the performance of which by M. Charles Hallé (who was recalled at the end) it would be superfluous to say one word. The second part began with the Romance in G (Op. 40), played to perfection by Herr Joachim, and enthusiastically redemanded by the whole audience. "Non mi dir" (Mlle. Carlotta Marchisio); "The Nightingale"-- another new (and pretty) ballad, the composition of Mr. Henry Smart-(Mr. Wilbye Cooper); and the duet, "Serbami ognor," from Semiramide (the Sisters Marchisio) separated the romance from the grand trio in B flat, dedicated to the Archduke Rodolphe, with a splendid performance of which, by MM. Hallé, Joachim, and Piatti, the 102nd concert and the fourth seasona concert and a season upon which the spirited director, Mr. S. Arthur Chappell, may fairly be complimented came to a conclusion.

ST. JAMES'S THEATRE.-Mr. William Brough's graceful extravaganza, Endymion, originally produced at this house under the management of Mr. Alfred Wigan, has been revived with great splendour. The picture of Mount Latmos, in which Miss Herbert as Diana descends in her crescent to visit the sleeping youth, is one of the most beautiful that has ever been witnessed, and admirably serves to develope the genius of Miss Herbert for graceful attitude and gesticulation. Indeed, the scenery throughout is exquisite, and entitles Mr. Lloyds to a high place among the now numerous band of painters who have brought stagedecorations to such a high degree of perfection. Endymion is played by Miss Rosina Ranoe, a promising novice of agreeable appearance; and as Cupid, Miss Clara St. Casse, an established favourite at St. James's, and one of the very best of burlesque singers, has re-appeared to be welcomed with enthusiasm. Mr. Brough's ingenious combination of the fable of Acteon with that of Endymion reveals a new talent in Mr. Charles, whose execution of the "Jockey Hornpipe' almost amounts to a gymnastic feat and commands an undisputed encore. The lack of vis comica can scarcely be considered a fault in an extravaganza which so poetically embodies one of the most beautiful legends connected with the mythology of ancient Greece. Those who have seen the two exquisite tableaux in which the elegant figure of Miss Herbert first descends to Endymion and then ascends with him, will not regret that the number of puns is more than usually small.

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28. 6d. 6d.

Every additional 10 words TO PUBLISHERS AND COMPOSERS.-All Music for Review in THE MUSICAL WORLD must henceforth be forwarded to the Editor, care of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street. A List of every Piece sent for Review will appear on the Saturday following in THE MUSICAL WORLD.

TO CONCERT GIVERS.-No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in THE MUSICAL WORLD.

The Musical World.

LONDON: SATURDAY, AUGUST 2, 1862.

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IN alluding to the foundation of the Monday Popular Concerts (in February 1859), the editor of the Analytical Programmes remarks: "This was the first attempt to provide a selection exclusively of what is termed 'classical' music for a large mixed audience. That it succeeded may be readily concluded from the fact that between February 14, 1859, and June 23, 1862, ninety-nine concerts were given, the concert held on the evening of July 7, for the Director's benefit, including the eleven given in the provinces, being the HUNDREDTH MONDAY POPULAR CONCERT. The Director claims no credit beyond that of having entertained a belief in the existence of a musical public in this metropolis and its environs, ready to hear and able to appreciate the genuine masterpieces of the art."

This belief has been warranted by the result. What had been previously a sealed book to all but exclusive circles is now open to general inspection; and the quartets, sonatas, &c. of the greatest composers bid fair to become "familiar as household words." Mendelssohn, who led the way in 1859 (Feb. 14), was followed (Feb. 21) by Mozart; Mozart (Feb. 28) by Haydn and Weber; Haydn and Weber (March 7) by Beethoven; Beethoven (April 4) by Bach and Handel; Bach and Handel (April 25) by a group of English composers; the English composers (May 16) by Schubert and Spohr, and so on. The six concerts originally contemplated were extended to fourteen, and the first series terminated (June 27) with a selection from "Various Masters," which proved so attractive that hundreds of persons were sent away from St. James's Hall, unable to find standing room. A second series was the consequence. This commenced on Monday, Nov. 14, 1859, with a selection from the instrumental works of Beethoven, together with vocal pieces by several masters, and comprised no less than twenty-seven

concerts, the last of which—on the 2nd of July, 1860—was devoted to a selection from the works of Spohr, Scarlatti, Bach, Mendelssohn, Handel, and Mozart (instrumental); Schubert, Beethoven, Meyerbeer, Haydn, and Rossini (vocal). At this concert-as at the last performance of the first series (June 27, 1859)-hundreds were unable to obtain places. The third series commenced on the 12th of November, 1860, with a selection from the works of Spohr, Dussek, and Weber. The public appetite having grown with what it fed upon, this third series-extending to twenty-three concerts -was even more flourishing than its precursors; and the Directors had the gratification of being able to inform their numerous patrons that the Monday Popular Concerts were established on so firm a basis that there could no longer be a doubt of their permanency. The fourth series-commencing November 18, 1861, with a selection from the works of various masters, and including no less than twenty-seven concerts, has fully answered expectation, its success being greater and more uniformly sustained than that of any of its predecessors. Under these circumstances, the Director announces, without further preamble, "that the Fifth Season of the Monday Popular Concerts will begin early in November."

That the success of these healthy and improving entertainments is wholly without precedent may be regarded as a proof of the remarkabie advance in musical taste which of late years has distinguished London from almost every other capital.

“CHE farò senza Euridice?"-or freely (very freely) translated - what has become of Orfeo? We may put the question to Mr. Gye without offence, inasmuch as he announced Orfeo in his prospectus for the now rapidly expiring season of 1862. He cannot plead as excuse that Gluck's music was not appreciated by the patrons of the Royal Italian Opera; for it was liked-if we are not grossly misinformed-as much by the subscribers as by the general public. Mad. Csillag, Mad. Penco and Mad. Nantier Didiée, too, were all in the original cast. What, then, has become of Orfeo-with its music nothing less than Orphean?

By Londonas by Paris-in the year of Grace (if the Superfluous Review will pardon the euphemism) 1860, Orfeo was more quickly understood and accepted than by Vienna at the time of its production (1764). The first representation in the Austrian capital excited more surprise than pleasure, the ear accustomed to the recitatives and airs of Italian opera finding itself disconcerted by music so entirely at variance with the universally admired pattern, to which the genius of Mozart had not yet thrown down the gauntlet. Nevertheless, the great passages with which the work abounds, struck many connoisseurs, to whom the simple and affecting beauties of situation and expression imparted wholly new emotions. Before the fifth performance all objections had died away: the opera was unanimously applauded, and its success increased by each succeeding representation. In the following year, Gluck was called to Parma, to assist in the fêtes given in honour of the marriage of the Infant. He proposed that Orfeo should be brought out, but the Court objected. They did not consider the applause of Vienna at all binding on Italian amateurs, and were at a loss to imagine how anyone could pretend to write a better poem than Metastasio, or better music than Jomelli, Sacchini and Piccini. When Millico, the first singer, was spoken to about undertaking the character of Orfeo, he declined to forfeit his reputation. But Gluck succeeded in vanquishing opposition. He knew the people with whom he had to deal, and rightly

imagining that they possessed more sensibility than vanity, and were more influenced by their sensations than by their opinions, he persevered, and took upon himself all risks. The opera was performed with brilliant success; and when, after a certain time, another was about to be substituted, Orfeo was re-demanded with acclamations. It was subsequently produced at the Court theatre of Naples in 1773, when an attempt was made to replace the duet in the third act by one from the pen of another composer. When the opera was given at the public theatres, the new duet was not listened to, and the audience called loudly for that of Gluck. Thenceforward Italy united in applauding with transport music so perplexing to ears reckoned naturally effeminate and unable to sympathise with the vigorous conceptions of the north. Parma, Naples, Rome, Milan, and Venice, became the alternate witnesses of Gluck's triumph. Bologna was enriched, during a single winter, by nearly fifty thousand pounds, contributed by foreigners attracted through the renown of Orfeo. When, translated into French, Orfeo, was produced on the Parisian stage, Rousseau was so much charmed with it, that he did not miss a single representation; "for," said he, "if so much exalted pleasure can be enjoyed in the space of two hours, it serves to convince us that life is really good for something."

For the present, however, the patrons of the Royal Italian Opera must be content to do without Orfeo; but Gye forbid they should be deprived of it next season!

song. Still one may form some idea of the young girl, who, from her low social position, looks upward with love and veneration as to a god. Of all soldier songs we know, there is none the music of which is so full of emotion and artless beauty as this. It is the beauty of the German popular song, and must be judged from that standard -a style of music as distinct and national as that of the Scotch. No. II. This is the short musical introduction to Act II. It begins with an andante, in which Beethoven paints the grief of the constant Brackenburg over his unhappy_love for Clara, referring especially to the words, "Could I but forget the time when she loved me, or seemed to love me! And-and now? Let me die! Why do I hesitate?" The andante is followed by an allegro con brio, in which are painted the restlessness of the citizens of Brussels under the Spanish yoke, and the constantly increasing excitement among the people.

No. III. the introduction to the next act,-combines the warnings and presentiments of the Prince of Orange with the replies of the joyous, careless Egmont-their farewell, to which these words are the key:

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"Cheerful and tearful, unwilling or fain,
Longing and mourning in passionate pain';
Joy to feel keenly, or anguish to prove,
Happy alone is the heart that can love."

OETHE'S heroic tragedy was a fit subject for a tyrantNo. V.― introduction to Act IV. —consists of an echo hater like Beethoven. It offered him a kindred of the love-scene between Egmont and Clara; Clara at theme with his Fidelio and his Sinfonia Eroica. In "So let me die; the world has no joy after Egmont, the music illustrates a drama, the subject of which Egmont's feet is that reign of terror which Phillip II. of Spain, through this!"-march of the soldiers of Alva into Brussels; and his stern instrument, the Duke of Alva, established in the to conclude, indications of the feelings of the citizens, exNetherlands, and the fall of a hero "whose blood became pressed in the words of Jetter:-"I felt it badly the the seed of liberty and freedom from the tyrant's yoke." moment the Duke came into the city. Since that moment The music consists, with the exception of two little songs it seems to me as if the heaven was covered with a pall, in the charming part of Clara, of a series of instrumental which hangs so low that one must bow himself not to touch pieces foreshadowing the events, characters and passions of it. I snuff the odor of an execution morning; the sun will the several acts, or tinged with the impressions of the scenes just passed—and in the last instance accompanying

the action.

First, in the dark key of F minor, we have the overture,
so well known in concerts. This is a marvellous compression
into one brief, intense expression of all the elements of the
tragedy. You feel all the gloomy background, the vague
apprehensions of that reign of terror; while a ray of heavenly
light, of maidenly purity and sweetness, an intimation of
the love of Egmont and Clara, crosses and relieves the gloom;
and the heroic will, the spirit of liberty, blazes out in
glorious triumph at the end. At the close of the overture
the curtain rises, and the music is silent until the scene in
which Clara appears, and, radiant with happiness and pride
in her noble lover, sings her soldier song :-
No. I.

"The war-drum is rolling, high soundeth the fife;
My lover, all harnessed, commandeth the strife;
He holds the lance proudly, he orders the army.
My heart throbs aloud-how kindles my blood!
Ah, if as a soldier beside him I stood,
From hence would I follow with courage and pride;
Wherever he led me, I'd fight by his side:

The foemen would shrink as we charged on the van;
O heaven! what pleasure, were I but a man!"

The simplicity and beauty of the original are but faintly reflected in the above translation of this very exquisite little

the mists stink."

not appear
Alva orders him to surrender his sword; the warning words
No. VI. Introduction to Act V. Egmont's feelings when
of Orange again rising in his memory; Clara's emotions upon
learning of her beloved's arrest; her attempt to arouse the
citizens to his rescue; and, finally, her resignation and
determination not to outlive him.

blessed fields, and the delights of peace from that world
already breathe upon me. I have conquered; call me not
back again to strife."

No. VII. Clara's death. "I draw nearer and nearer the

No. VIII. Melodrama. Egmont sleeps and dreams to the sound of what Shakspeare would call "still music." claiming victory to the people; her hero falls, but in his He sees his beloved appear in the form of Liberty, pro

blood is the seed of freedom.

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TESTIMONIAL TO PROFESSOR BENNETT.-At the Philharmonic Annual Whitebait Dinner (held at the Trafalgar, Greenwich, not long since), after the health of Professor Sterndale Bennett had been proposed, Mr. Anderson, in the name of the Philharmonic Society, presented him with a costly and magnificent silver salver, with the following inscription:

Presented July 16th, 1862,

to

Professor W. S. Bennett, Mus. Doc.,
by the Members of

The Philharmonic Society of London,
in token of their appreciation

of the liberality constantly manifested since he has
held the office of

their Conductor,

and as a mark of their admiration of

the Musician,

and esteem for the Man.

consequence of the indisposition of M. Faure, and for the same reason Le Prophète was substituted for Guillaume Tell, which had been promised for Thursday. One might have thought the Graziani, the original representative of Hoel, in London, was at postponement of Dinorah unnecessary, inasmuch as Signor Mr. Gye's disposal. Masaniello, which was to have been produced this evening, is now put off till Thursday, and Il Ballo in Maschera substituted in its place. The last performance of Guillaume Tell is announced for Monday-M. Faure willing.

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I cannot allow the opera season of 1862 to terminate without tendering you my heartfelt thanks for the kind support and liberal

This presentation was acknowledged by Professor Bennett patronage you have accorded me during this my first season of direc in a brief and appropriate speech.

A POEM TO PATTI.
(From Punch.)

O CHARMING Adelina!
How sweet is thy Amina!
How bewitching thy Zerlina!
How seldom has there been a
More tunable Norina!
And have I ever seen a
More enjoyable Rosina?
But to tell the praise I mean a-
-Las! there should have been a
Score more rhymes to Adelina.

torship at Her Majesty's Theatre. It would be in vain to deny that during the past season a few shortcomings may be laid to my charge; but when the magnitude of the undertaking, on which I entered at a very short notice, is taken into consideration- two weeks only having been allowed me for preparation - I trust they will be deemed unimportant. The chorus, during the early part of the season, was not on some occasions all that could be wished, but I was compelled to organise a new one, many of the members being entirely unacquainted with each other. By next season I shall be prepared with a chorus which I trust will be worthy of your approval. I feel I may with pride draw your attention to the orchestra, which includes some of the most accomplished executants in Europe. In this respect I venture to claim your approval, and to point to the unanimous opinions of musical critics on its merits. I may also be permitted to hope for your approval of the varied répertoire which I have been enabled to present to you. I do not dwell on Sig. Verdi's new cantata, nor Meyerbeer's chef d'œuvre, Robert le Diable, given with the greatest completeness and effect; but I beg respectfully to point to the thirteen different operas which have been brought out during the first season of my management, and to the very able manner in which they have been supported. Such artists as Sig. Giuglini, Vialetti, Gassier, Santley, Zucchini, &c.; Mesdmes. Trebelli, Louisa Pyne, the Sisters Marchisio, and Titiens (incomparably the greatest artist on the European lyric stage), together with Arditi, need no eulogy from me. I content myself with drawing your attention to the fact that the first representations of nearly all these operas were given on subscription nights, and were not reserved as attractions for extra performances, which in many instances is now the practice. It is my intention, during the next six months, to make myself acquainted personally with any talent that exists abroad, in

A WELL-KNOWN VIOLIN, by Joseph Guarnerius, date 1733, has just changed hands through the agency of Messrs. Withers of Coventry Street: the purchaser is Herr Carl Deichmann. THE CONSERVATIVE LAND SOCIETY IN NORTH ESSEX. A public meeting was held at the Three Cups Hotel, Colchester, last Wednesday evening, the 30th of July, for the purpose of hearing explanations as to the mode of allotment of an estate just purchased on the Mersea Road, Colchester. P. O. Papillon, Esq., M.P., took the chair. Viscount Ranelagh, Col. B. Knox, M.P., J. C. Cobbold, Esq., M.P., and Col. Meyrick, members of the Board, were unavoidably absent. The depu-order that I may be able, next season, to place before you a galaxy of tation consisted of Henry Pownall, Esq. (Chairman of the Middlesex Magistrates), Charles E. Newcomen, Esq (Directors), Mr. Gruneisen (Secretary), Mr. Henry Smith (Solicitor), and Mr. J. Wylson (Surveyor). The Mayor of Colchester was prevented by indisposition from attending the meeting, but there was a large assemblage of the principal inhabitants of the town. The speeches were principally directed to show the value and importance of Land Societies in a social and commercial point of view; the system of buying land and paying for the same by instalments, as also for raising funds to erect houses on the land so acquired, were fully gone into. At the conclusion a vote of thanks was unanimously passed to the deputation for their lucid explanations, and the resolution also embraced a vote of confidence in the working of the Conservative Land Society. After the usual complimentary vote to the Chairman, the proceedings terminated. It is intended by the Executive Committee to set apart a piece of land for the erection of a church on the Mersea estate, the freehold being given free of any charge.

ROYAL ITALIAN OPERA.
CROWDED houses and no change since our last. On Saturday
Don Giovanni, on Monday Roberto il Diavolo, on Tuesday I
Barbiere, on Thursday Le Prophète, and last night the Sonnambula
were performed. Dinorah has been postponed until Tuesday, in

talent unrivalled in London, supported by an orchestra and chorus complete in every particular. In the production of operatic spectacle, I shall be greatly assisted by some very extensive alterations that are to be made in the theatre, which will render the stage more capacious, and the task of producing each opera with completeness more easy of accomplishment. I hope you will not deem me presumptuous in troubling you with this short resume of what I have done, and what I intend doing. The position of director of so great an establishment as Her Majesty's Theatre is one which, while surrounded with risks and troubles, is not unaccompanied with pleasures I may say honours; in both the latter I shall have largely shared if I have succeeded in gaining your approbation for the past, and your good wishes and patronage for the future.- I remain, your faithful and obliged servant, J. H. MAPLESON."

A series of "eight farewell performances," at cheap prices-or, to use the official language, "a graduated reduced scale of prices of admission, without the restriction of evening costume," have been commenced. The first of these took place on Tuesday night, when Norma was repeated, with Mlle. Titiens as the Druidess; on Wednesday La Zingara (the Italian version of Mr. Balfe's Bohemian Girl), with Miss Louisa Pyne and Mlle. Trebelli, Mr. Santley, Sig. Vialetti, and Sig. Giuglini in the characters of Arline, the Gipsy Queen, Arnheim, Devilshoof, and Thaddeus (a performance of

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