business has been managed by its indefatigable Secretary, the "coup de main" intended fatally to damage its interests proved literally a "coup manqué." The Society passed not merely successfully, but triumphantly, through the ordeal. That such an occasion should have suggested a recognition of the trustworthiness of the principal officer, must be readily admitted, and that the members of the Society will, one and all, show their strong sense of his invaluable services there can hardly be a doubt.

But it is not alone in testimony to his official integrity and capacity that Mr. Gruneisen's friends are anxious to come forward with their subscriptions; the musical and literary world have long known in that gentleman one of the ablest contributors to the critical press, as well as one of the warmest supporters of art to whom, moreover, we are in a very great measure indebted for the establishment of the Royal Italian Opera, which, fifteen years since, first raised its head in proud and successful rivalry to the long-established theatre in the Haymarket, and has since reached the topmost pinnacle of European fame. It has therefore been decided to extend the privilege of contributing to those who, not being members of the Conservative Land Society, may still desire to express their esteem for a man who has in so many ways shown himself entitled to the highest consideration.

ENGLISH OPERA ASSOCIATION (LIMITED).—We understand this Association will, in all probability, make its début at the Theatre Royal, Drury Lane.

MLLE. TREBELLI, having terminated her engagement at Her Majesty's Theatre on Thursday, left London for Paris yesterday. Mr. Mapleson has signed with her for three more seasons.

MAD. ARABELLA GODDARD is staying at Boulogne-sur-Mer, and will not return to England until October.

MR. LAND'S TOUR.-Mr. E. Land, always busy when the season closes, has projected a grand autumnal tour in the provinces, to commence in the second week of October. The artists engaged are Mad. Gassier, Mile. Marie Cruvelli, Mr. Swift, and Herr Joseph Hermanns, vocalists; Mad. Arabella Goddard, M. Sainton and Sig. Bottisini, instrumentalists. Mr. Land's managerial experience is proverbial; but who could not "manage," we may ask, with such artists to control? Mad. Gassier, one of the most brilliant of modern sopranos, makes her first appearance in the provinces for three years, and will, no doubt, revive the impression she created in her former visits; Mr. Swift, next to Mr. Sims Reeves (facile princeps), is one of our most accomplished tenors; Mlle. Marie Cruvelli (sister to the renowned "Sophie ") is a contralto of the highest accomplishments; Herr Hermanns has taken out his certificate at Her Majesty's Theatre. The names of the instrumentalists can derive no additional lustre from any eulogy of ours. In M. Sainton, Sig. Bottesini, and Mad. Arabella Goddard Mr. Land has simply announced three of the greatest performers now before the public. With such attractions, indeed, success is certain-more especially with Mr. Land, so skillful an impresario, to exhibit them.

BROADWOOD'S PIANOFORTES.-In the second letter of M. Fétis on the musical instruments in the International Exhibition, we find the subjoined:-"My colleagues and I have remarked, with regret, that most of the English makers seem to have lost sight of this ideal of the piano, to which all the resources of their art should tend. Among those, whose instruments figure at the International Exhibition, there are few who have not presented us a model of their invention of a mechanism for the repetition of the note. To see the efforts of their imagination to attain this kind of merit, you would be tempted to believe that they consider it the ne plus ultra of the qualities of a true instrument. But of what use are all these inventions more or less imperfect? Much more important are the essential qualities of sound, of timbre, of equality, of finished workmanship; and these, I must say, we have seen with pain that the greater number of the English manufacturers neglect. Even old houses, which formerly enjoyed a

justly acquired fame, have fallen off in their productions. Mr. Henry Broadwood alone has not only maintained intact the secular glory of his ancestors, but he has gone on with the time, and the different pianos from his factories offer to the struments. They are four in number, grand concert form, the Exhibition the realisation of the perfect ideal of this class of incases of ebony from Coromandel and of rosewood. These pianos satisfy in the completest manner all the conditions of sonority, of distinction and of mechanism required in the piano of an artist. I must mention here an important improvement introduced in the new grand pianos of the house of John Broadwood & Sons. It consists in a new arrangement of the iron barrier to balance the traction of the strings and secure the solidity of the instrument. because, on the one hand, they often give a ferruginous timbre to These barriers, it cannot be denied, are an awkward necessity, the sound, while, on the other hand, they load the instruments. We have seen in the Exhibition grand pianos, which had not less than six big iron bars. Mr. Broadwood has replaced all this apparatus by a single buttress of forged iron, whose resistance to the pulling of the strings is equal to that of all the barriers hitherto employed."

HEILIGENSTADT.-The colossal bust of Beethoven, modelled

by Gasser, in conformity with the order of the Verschönerungsbetween Heiligenstadt and Grinzing, is already cast, and will soon verein, and intended for the well-known "Beethoven Road" be completed.

TURIN.-Sig. Tamburini has received the order of St. Maurice and St. Lazarus from King Victor Emmanuel.

PARIS.-(From an occasional Correspondent.)—“O matre pulchra filia pulchrior!" The late Mad. Cinti Damoreau, after the first performance of Auber's Diamans de la Couronne, was asked, at least so says M. Téry of L'Europe Artiste (why, by the way, do they not spell the MUSICAL WORLD as correctly as your contributors spell L'Europe Artiste, instead of eternally writing it "WORRL," or MUSICAL "WOOD," WOOL"?) so says M. Téry (I don't write that name Try-M. Try) at least so says M. Téry was asked whether she had "assisted" at that solemnity. "Yes," she replied, "but I left at the end of the first act, as I don't like les chants Thillons" (l'échantillon). I wonder if Mad. Thillon was present at the first performance of Mad. Cinti Damoreau's daughter, at the Imperial Opera the other night, in Guillaume Tell; and I wonder what would be her answer should a similar question, mutato nomine, be put to her:-"Yes, but I left at the end of the second act, as I don't like les chants Damoreau" (l'échandamoreau). "O matre pulchra filia pulchrior," by-thebye, cannot, with any twisting, Horatian or otherwise, be made to apply to Mlle. Damoreau; whose mamma was, nevertheless, no S. great--but we must not be ungallant.

The Operas.

ROYAL ITALIAN OPERA.

THOSE who from the beginning expressed themselves strongly not only about the actual talent, but about the future career, of Mlle. Patti, must have derived more than ordinary gratification from her performance on Wednesday night, when, for the first time in London-probably for the first time under any circumstances-she undertook the arduous character of Dinorah. With no wish to detract one iota from the merits of those accomplished contemporaries, who, here and elsewhere, have, from time to time, essayed the part, we must in strict justice declare that, in our opinion, so picturesque and happily finished a delineation of the half-crazed maiden in whose mouth the composer of the Huguenots has placed such delicious music, was never witnessed till now. That Mile. Patti, with her uncommon natural endowments, and gathering experience with years, would continually approach nearer and nearer to the ideal perfection which none are destined completely to attain, it was natural to suppose. Her progress, however, seems to have outstripped the ordinary speed; inasmuch as she who, scarcely more than twelve months since, came before us a mere girl-possessed of rare gifts, it is true, and for her age of as rare acquirements, but still a girl, in whom extreme youth was not more emphatically a plea for immediate sympathy than a set-off against com

paratively imperfect execution-contrived on the occasion under notice to win the unanimous and hearty approval of the most critical audience in Europe, in what is perhaps the least amenable part of the romantic lyric drama. The Dinorah of Mlle. Patti is from first to last an entirely new creation, and, moreover, in the fullest degree as captivating as new. It is not merely in all respects, whether regarded in a dramatic or in a vocal sense, the best Dinorah we remember, but, viewed as a whole, the only Dinorah entirely realising the poetical conception which laid so strong a hold upon the imagination of Meyerbeer as to inspire him with those delicate and truly fascinating melodies that stamp Le Pardon de Plöermel, if not as the most brilliant, certainly as the most ethereal of his masterpieces. Originality has been universally recognised as an attribute of each successive assumption of Mlle. Patti. Whatever may be her shortcomings, she invariably thinks for herself, invariably presents the character she is assuming under a fresh and unhackneyed aspectthe mark of her own piquant individuality being everywhere apparent. This, combined with youth, a prepossessing appearance, and a natural grace that enables her to tread the stage as though she had been "born to it," confers upon all her endeavours a certain indefinable charm. The attraction thus created, and which gives to her Zerlina, her Rosina, and one or two other impersonations, the peculiarities so agreeably distinguishing them, is, perhaps, nowhere more vivid - perhaps nowhere so vivid as in her Dinorah, the most elaborately studied, the most carefully wrought out, and, at the same time, so successfully are the mechanical means kept out of sight, the most apparently spontaneous of her performances. Every scene-every situation, in short-exhibits some new and unexpected point to strike attention; not "points" in the conventional meaning of the term, but delicate touches that, by filling out the picture, make it all the more natural and true. The first scene, where Dinorah sings to her pet goat, which, though absent, she fancies she beholds in her reverie,

"Si carina, Dorm' in pace, Caprettina Gentilina!

gave a foretaste of what was to come. Nothing could be prettier, nothing more entirely in the spirit of the situation. The goat-the "caprettina gentilina"-was exclusively addressed, exclusively thought of, just as if there had been no such thing as an audience in the theatre. The musical phrases, too, of this very beautiful piece seemed to be mixed up with the dramatic action, as though the two were one, essentially parts of each other and inseparable. The duet with Corentin, in which Dinorah becomes as playfully mischievous as just before she was gentle and caressing-ruthlessly exciting the nerves of the timid boor, who takes her for a spirit, and making him "dance and pipe" at her caprice was a masterpiece from beginning to end. In the prelude, Mile. Patti echoed the mellifluous tones of Mr Lazarus' clarionet with such fidelity that, but for the charm intrinsically appertaining to the human voice, it might have been thought that phrase and response proceeded from the same instrument. The trio at the end of the first act was just as good, and just as effective, in its way; and never have the receding strains of "Il tintinnar,"

"Piano, pianino ! "Suono argentino!

-which accompany Dinorah as she winds her way slowly up the rock, just as the curtain is about to descend-been uttered with a sweetness more thorougly congenial. That the famous "Shadow-duet" should produce an extraordinary impression, after what has been already described, was only to be expected. The music of this genial, charming, and original scene may have been executed by other artists with almost equal fluency; but we never heard it delivered with such strict dramatic propriety, or with such an infinity of piquant and refined expression. The acting was really wonderful. The "shadow" on the rock became as it were an intimate companion of Dinorah; and when she speaks to it of Höel's love-" Non sai ch' Höel m' ama?" the manner in which the confidence was imparted, both in the position of the crouching figure and the accents of the tremulous voice, reached the very ideal of the "picturesque." No wonder that such an exhibition should rouse the whole house to enthusiasm. Passing over the finale to the second actin which, nevertheless, there were many things to notice state, in general terms, that the last scene was a worthy climax to the rest. The gradual progress of returning reason was delineated with consummate art, and the impression produced by each familiar object, as it alternately offers itself to the slowly awakening sense of perception in Dinorah, conveyed in a manner so genuine, and at the same time so graceful, as to show that even if Mlle. Patti had never been taught to sing she was evidently intended by nature to become an actress. The whole performance, indeed, was a triumph of the most legitimate kind—the most legitimate and the greatest that the young artist has

we may

achieved since she delighted the English public with her first notes the interesting heroine of Bellini's Sonnambula. The other principal parts were, as usual, filled by Signor Gardoni, M. Faure, and Mlle. Nantier Didiée, the subordinate characters by Mad. Rudersdorff, Signor Neri-Baraldi, and M. Tagliafico.

Although drawing fast to the close of the season Mr. Gye does not slacken the rein of his enterprise, but rather takes a good pull that he may run to the termination of the goal with undiminished speed. One might have thought enough had been effected with the novelties and revivals already given. Not so the director. He would make one more grand coup towards the end and leave an ineffaceable impression. It was a great idea to reproduce Auber's Masaniello with Signor Mario as the Fisherman. Of all operas by French composers, the Muette de Portici is most endeared to Englishmen. Its production at Drury Lane, in 1839, was one of the greatest successes on record. No opera of any composer ever fascinated the play-going public to the same extent. No doubt some of the success was due to the singing of Braham, who was never equalled in the part. The work, however, comprises every element of attraction-gushing and spontaneous melodies in every scene, instrumentation clothed in the brightest and most harmonious colours, dramatic power and treatment that never have been surpassed, stirring incidents, gorgeous scenery, rainbow costumes, dances that would provoke old Nestor to motion, and a most interesting plot. Masaniello was first produced at the Royal Italian Opera in 1849, with Signor Mario as the hero. The success was triumphant; but Mario, not satisfied with himself, or displeased with somebody else, threw up the part and gave it to Signor Salvi, who retained it for the few nights it was performed during the season. In 1850 Masaniello introduced Signor Tamberlik to the English public, and such favour did the new tenor find in his introductory essay, that he was allowed to retain the part thenceforth without interruption. Why, when the opera was reproduced, after an interregnum of eight years, Signor Mario has been substituted for Signor Tamberlik, we cannot say. Perhaps it was but a requital for Signor Mario's bestowing the part of Jean of Leyden in the Prophète on Signor Tamberlik. That, however, Masaniello was produced, not who played the Fisherman, was the principal consideration. The public who liked the opera would naturally be satisfied with either one renowned artist or the other in the principal character, and not trouble itself with nice tenor distinctions.

The first performance of Auber's great work, on Thursday night must have satisfied everybody present that nothing had been left undone to secure for the opera a new lease of popular favour. The dresses, expected from the establishment-picturesque, magnificent, and comscenery, and appointments were no less than what might have been plete. Perhaps even at the Royal Italian Opera the scene of the Market Place at Naples, in which the insurrection takes place, has not been surpassed. It is indeed a resplendent picture, and nothing more like reality than the conflict between the soldiers and the fishermen and nothing more effective as a pictorial illusion-has been witnessed on the stage. The sea-shore view in the second act is another grandlydevised and brilliantly-painted scene; and again the exertions of Mr. Augustus Harris, the stage-manager, are indicated, in a manner not to be mistaken, by the groupings, the notions, and the various employments of the fishermen and their wives.

Of the execution generally we may speak in high terms, but feel assured, nevertheless, that a few performances will be of material service to band and chorus. That there is little time for rehearsals just now we know, and could hardly have expected that the regular course of preparation had been gone through. Still the performance the first for eight years-was admirable on the whole, and a few trifling hitches we may take for granted will not occur again. The opera is announced for repetition to-night and Tuesday, and we may conclude it will constitute one of the special features of the closing representations.

The cast included Mlle. Marie Battu as Elvira, Mlle. Salvioni as Fenella, Signor Neri-Baraldi as Alphonso, Signor Graziani as Pietro, and Signor Mario as Masaniello. Mlle. Battu seemed thoroughly at her case in the music-more so certainly than in Rigoletto- and sang the opening cavatina with much brilliancy and point, although she found the scena in the fourth act a little too exacting. The Fenella of Mlle. Salvioni was especially graceful and interesting, and was certainly one of the marked features of the performance. The performance of the fair danseuse in the tarantella formed a distinctive feature in that most inspiriting of national terpsichorean displays. Sig. Neri-Baraldi was, as usual, artistic and painstaking, but the character of Alphonso does not enlist the sympathies, and the singer did not create any enthusiasm.

Sig. Mario we have heard in better voice, but at times the intense charm of his singing and his refined and irresistible manner were felt

and acknowledged by the entire audience. The customary encore was withheld from the barcarolle, but was awarded to the grand duet with Pietro which follows, and in which Sig. Mario displayed an amount of The famous passion and manly vigour impossible to transcend. "Somno" song we shall hear to greater advantage by-and-bye, when the artist has definitively made up his mind to sing it mezzo-voce throughout, as, we fancy, it should be sung, and as old Braham used to sing it. Sig. Mario's last scene was in every respect inimitable. Here his voice was under perfect control, and the snatches of the fisherman's songs as they came filtered through his disturbed brain were given with exquisite grace and feeling. The assumption of madness was at the same time most striking and most natural. Sig. Mario invariably improves upon a new part, and we do not doubt that, splendid as his performance on Thursday night was, it will be still better after a few repetitions. Sig. Graziani sang admirably in the duet just mentioned with Sig. Mario, winning fairly his share of the applause, and gave much effect to the fine barcarolle in the last act.

A word of strong praise must suffice at present for the incidental dances, all of which were performed with brilliant effect by the corps-deballet, headed in the tarantella, as we have said, by Mlle. Salvioni, and, as we have not said, by M. Desplaces.

The house was crowded, but was evidently more than half filled with strangers.

These have been the novelties.

The following were the regular performances of the week:-On Saturday, Don Giovanni; on Monday, the Trovatore (with Mlle. Fricci); and last night, Don Giovanni (with Mile. Fricci as Donna Anna).

HER MAJESTY'S THEATRE.

THE numerous strangers now in London have taken advantage of the "cheap nights" (which began on Tuesday week), and the house has witnessed a succession of large audiences. With the exception of Wednesday evening week, when the Bohemian Girl (La Zingara) was revived, there has been no novelty. Balfe's pretty opera was performed with excellent effect. It could hardly have been cast with greater strength-whether as regards the two principal characters or the others. Miss Louisa Pyne and Sig. Giuglini were the representatives of the heroine and her lover; while Mlle. Trebelli filled the part of the Gipsy Queen, and Mr. Santley that of the Count. The spectators enjoyed the opera as of yore, notwithstanding the absence of the vernacular, and the presentation of old friends in new dresses. Miss Louisa Pyne's pourtrayal of Arline is well known; nor was it the first time Sig. Giuglini has ventured to appear as Thaddeus. Both sang in their best manner. Mlle. Trebelli gave extraordinary importance to the character of the gipsy. The part hitherto has never been so for tunately embodied. That Mlle. Trebelli would sing the music well was to have been anticipated, but few were prepared for so energetic a dramatic version. The personation, in a word, added another leaf to the laurels this gifted young artist has already won. Mr. Santley could not possibly fail to extort a vociferous encore for his tasteful delivery of "The heart bowed down." But encores were the order of the night, and none of the old favourites escaped.

There has been no other novelty. On Saturday the Huguenots was repeated; on Monday, the Nozze di Figaro ; on Tuesday, the Trovatore; and on Thursday, Lucrezia Borgia-with a selection from Semiramide, for Mlle. Trebelli and M. Gassier. On this occasion Mlle. Trebelli, who made her last appearance for the season, was not only encored, as usual, in the "Brindisi " of Orsini, but honoured with an enthusiastic "ovation," a just tribute to her great and genuine merit. That in Mlle. Trebelli our Italian opera has discovered a new "fixed star," may be taken for granted.

There has been no change in the ballet-Flora, or " Flore," awakening every night, as usual, under the saucy features of Mlle. Morlacchi-by which we mean that Le Reveil de Flore has kept its place in the bills. Don Giovanni to-night, for the last appearance of Miss Louisa Pyne. The "eight extra-cheap-nights" having been dealt out, we are (as was always supposed would be the case) to have another series. So long as he can draw full houses, who can blame Mr. Mapleson? By the way, what has become of Mlle. Katinka (or Katrine) Friedberg? Who has eclipsed her?

MR. C. J. HARGITT. The gentlemen of the musical profession in Edinburgh, together with some other friends, presented Charles J. Hargitt, Esq., with a handsome silver claret jug, on occasion of his leaving Edinburgh for London, The services rendered by Mr. Hargitt as a Teacher, Conductor, and Composer, to the musical cause in

Edinburgh, won for him this appreciatory mark of esteem from friends, whose good wishes he carries along with him into his new field of labour.

MONDAY POPULAR CONCERTS.

(From the Morning Post.)

THE two extra concerts given on Monday and Tuesday last, in consequence of the enormous overflow on the occasion of the director's benefit, July 7, were greatly successful; and, indeed, but that Mr. Arthur Chappell's admirable artists, fairly tired out by the constant excitement of an unusually long and busy season, are casting anxious cyes towards green leaves, rippling streams, sparkling seas, and all that kind of thing, we believe that still more Monday Popular Concerts" might be given (even on Tuesdays) with undiminished pecuniary as well as artistic success. But Mr. Arthur Chappell must rest content, and “let well alone" for the present. In November next, however, he purposes entering upon a new campaign with his 103rd concert; and certainly the choice and delightful entertainments over which he presides with so much taste, judgement, and liberality, will lose none of the incomparable charm that belongs to them by being withdrawn for a while.

The season just brought so triumphantly to a close may be described as one of the very best and most successful Mr. Chappell has yet had for his Monday Popular Concerts. Nearly all the great instrumentalists of the day, and most assuredly all the greatest, have successively appeared, although playing of the highest order has been chiefly represented by Herr Joachim, Signor Piatti, and Mr. Charles Hallé; works by the most eminent masters, revealing the very perfection of musical composition, have been constantly performed as they could be heard nowhere else; the instrumental programme has been judiciously relieved and varied by the vocal contributions of such eminent singers as Mr. Sims Reeves, Mr. Weiss, and the Sisters Marchisio; the able musical critic and historian who writes the "book-programme" (not the least valuable portion of Mr. Chappell's entertainments) has been amusing and instructive as ever; while to Mr. Benedict, the model accompanyist, although last in our catalogue of excellences, belongs the merit of having given completeness to attractions which, however great in themselves, would have been incomplete without one for whom no worthy substitute could be found.

The past season has left us a single cause for regret we mean the long absence of Miss, or rather "Madame" Arabella Goddard, whose splendid artistic achievements are so intimately associated with the history of the Monday Popular Concerts, and to whom, indeed, the success that attended the earlier efforts of the director is in a great measure to be attributed. But if young ladies will get married, and "love their lords," they must take the consequences; and so too, in this instance, must the public. By November next, however, we trust that the great English pianist will be able to reappear before her countless admirers.

SACRED HARMONIC SOCIETY.-Despite the intense heat which set in with fierceness as if to make up for lost time, the counter-attractions, musical and otherwise, the dis-accommodation of Exeter Hall, with its narrow seats, and its being the fourth performance of the oratorio in something like as many months, Mendelssohn's Elijah on Wednesday week, did not fail to draw a crowd which filled every corner of the building, and every note was as eagerly listened to as if the audience had been seated luxuriously in the enjoyment of cool breezes as well as refreshing "airs." The distribution of the principal parts could hardly have been happier. Mr. Weiss, upon whom devolved the character of the Prophet, has so completely identified himself with it by his dignified and earnest reading of the music that further praise is not needed beyond stating the fact that he fully maintained his reputation. Who again can sing the exquisite tenor music like Mr. Sims Reeves, who does not content himself with the opportunities afforded by "If with thusiastically re-demanded), but delivers every bar with such intelligence all your hearts," and "Then shall the righteous" (the latter enas to raise the least striking passages into importance? Mad. SaintonDolby's name is a guarantee for excellence, and nowhere does she shine with greater lustre than in oratorio; Elijah affording especial example of her powers, the fierce denunciations of Jezebel, or the soothing accents of "O rest in the Lord" (also repeated by general demand), alike meeting with an exponent capable of giving the composer's meaning. Worthy second to Mad. Sainton-Dolby was Mad. Laura Baxter, whose fine contralto has never been heard to greater advantage; the declamation of the air, "Woe unto them," creating a marked legitimate effect. Nor was Miss Parepa less successful in the leading soprano part, her principal effort, "Hear ye Israel,” meeting

with especial recognition and applause. The band did not appear quite so numerous as usual, and we missed nearly if not the whole of the best known "principals;" however, the difference in quality was made up in energy. The chorus was-as it seldom fails to be in Elijah admirable. Mr. Costa conducted.

The immense throng of visitors now in the metropolis seems to induce a disposition to prolong the musical season to an indefinite length, operas, Monday Popular, and other concerts having stretched far beyond the usual limit; and the portals of Exeter Hall, usually closed in June, are still open to crowds who flock to hear oratorios with a zest that is perfectly refreshing, to the (by this time) somewhat jaded habitué. Large as was the attendance to Elijah, the numbers seemed if anything greater on Wednesday evening, when The Creation was presented with the (nearly) "seven hundred," including the "sixteen double basses." The great majority of the audience were unquestionably "provincials with a sprinkling of foreigners. This time Mr. Costa had his own band, whose familiarity with the score was evinced. With regard to the chorus we were of opinion that they were numerically weaker than usual, and consequently in more than one instance overpowered by the instruments. Nevertheless, the performance was on the whole satisfactory, and the applause genuine and frequent. Of the soloists, although gallantry bids us give the precedence to Mad. Lemmens-Sherrington, who from first to last sang remarkably well, and shone most particularly in "With verdure clad," and "On mighty wings," it was to Mr. Sims Reeves that the highest honours fell, and never has our great tenor distinguished himself more honourably than upon this occasion. "In splendour bright" created an impression not readily effaced, while "In native worth" was in every respect perfect. The audience, unsatisfied with Mr. Reeves bowing his acknowledgements, persistently demanded an encore, which was, however, judiciously declined by conductor and singer. Sig. Belletti, in "Rolling in foaming billows," and "Now Heaven in fullest glory shone," sang his best, and received the warmest applause. Another performance will be given very shortly, but of what oratorio has not yet transpired.

DRURY LANE THEATRE.. - As a supplement to the Colleen Bawn, the popularity of which does not seem to be in the slightest degree attenuated by 300 nights of performance, a troop of saltatory Arabs, belonging, it seems, to the tribe of "Beni-zoug-zoug," go through a series of gymnastic feats of the most astounding kind. Were we not in fear of seeming to speak in the language of modern slang, we might most aptly say that these dusky tumblers really act like "bricks," for they build themselves up into lofty edifices, of which they are at once the architects and the raw material, producing strange conglomerations of humanity, like that which we find on the frontispiece to Hobbes' Leviathan. Strange indeed is it to see these living structures, of which a slight lad is the normal steeple, lay themselves flat on the ground without falling to pieces, but stranger still is it to see them get up again in all their integrity. To the styles of architecture they adopt there seems to be no limit. The simplest form is the old-fashioned column of three persons, but this is varied ad infinitum by increase of number and changes of position; and so extensive is their power of combination, that, granted sufficient force, we do not see what is to prevent them from making themselves into any given edifice, from a station-house to

zoug, whatever its calamities, can never be homeless. When its constituents have remained too long sub Jove frigido, one-half of them will

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Hughes among the figures. Accustomed as she has been for several years to represent those specimens of the meek feminine virtues which are content to shine with secondary lustre, but executing her task to a perfection that left nothing to desire, her appearance in such characters as Lady Tresilian- that is to say, in a decidedly high comedy part marks an epoch in her career. Whether she will ever come up to the ideal of those dashing women of fashion who are so important in many plays, old and new, may reasonably be doubted, but the gay, kindly young " dowager" has all the charm of that natural manner which has been so often appreciated in characters of less pretension. Whatever she does she is always truthful, always confident without the show of assurance, always mistress of her position. Mr. Horace Wigan's performance of Edgar Beauchamp, the bashful lover, produces another change in the cast. Here, again, is an artist who for a long time contrived to shine in the background to such good purpose that his light could not be overlooked, and parts, in themselves insignificant, were marked out by him as striking types of individual peculiarity. His art consisted in seizing on any indication of character that presented itself, even amid a surface of bald dialogue, and often must an author have been surprised to see living figures rise before him when nothing but a fleshless outline had been given to the actor. In the Porter's Knot, the principal part in which is sustained by Mr. F. Robson with that marvellous combination of humour and pathos to which the piece owes its popularity, both these meritorious performers may be seen in characters with which they have long become identified. The Smirk of Mr. Horace Wigan, the Alice of Miss Hughes, and, let us add, the Mrs. Burr of Mrs. Leigh Murray, are three as good specimens of secondary parts, thoroughly, appropriately, and withal temperately coloured, as one would desire to see.

SYRACUSE (NEW YORK).-This city is the whereabouts of Mr. J. M. Tracy, whose classical soirées the printed programmes led us to suppose took place in Weissnichtwo. We have received the two remaining programmes; they are not wholly classical, since in them we find Kücken, Dreyschock, &c., mixed up with Mendelssohn and Beethoven ; but they contain so much more of stirling music than is usual in miscellaneous concerts, that we have thought them worthy of mention. In the two now before us we note the Sonata, op. 26 (with the Marcia Funèbre and the Sonata Pathétique of Beethoven); the Rondo capriccioso, op. 14, of Mendelssohn; the Scherzo in B minor and Polonaise in E flat of Chopin; the Minuet and Finale from Haydn's Symphony, No. 5 (arranged for four hands); besides vocal selections (common ones) from Mendelssohn, Cherubini, Schubert, Rossini's "Tell," &c.- Dwight's Journal.

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OLYMPIC THEATRE.—Miss Amy Sedgwick, who for some time past was one of the chief supports of the genteel comedy department at this fashionable house, terminated her engagement with a benefit last week; and a great change has taken place in the cast of the Dowager, the most important alteration consisting in the assignment of the Countess of Tresilian to Miss Hughes. Ever since the first production of Daddy

To be sung at the Festival, in competition for the prize of £5 offered by the Publishers.

THREE

HUNDRED and FORTIETH EDITION (Now ready) of HAMILTON'S celebrated PIANOFORTE TUTOR, 48. Hamilton's The 21st Edition (now ready) of Hamilton's "Singing Tutor," 58. Dictionary of 3,500 Musical Terms, 67th Edition, 1s. Clarke's Musical Catechism."An exceedingly useful manual. The present is the 72nd Edition, and its price is 1s." Glasgow Sentinel.

Also, gratis and postage free, a Green Catalogue of Popular Music for Teachers.

VINCENT WALLACE'S EDITION OF

• CZERNY'S ETUDE de la VELOCITE, with new Studies, by the Author (to be found in no other Edition, English or Foreign) with notes by Hamilton, and Additions by W. Vincent Wallace, 25th Edition. Two books, each 6d. ; or complete, 10s. 6d. N.B. Wallace's Edition must be asked for. VINCENT WALLACE'S EDITION

OF CZERNY'S 101 ELEMENTARY STUDIES, with new Studies by the Author (to be found in no other Edition, English or foreign), together with Notes by Hamilton, and Additions by W. Vincent Wallace. 30th Edition. Two books, each 4s;

complete, us. N.B. Wallace's Edition must be asked for.

London: ROBERT COCKS & Co., 6 New Burlington Street, where the Hanover Square Rooms may be engaged on all occasions.

THE

ALEXANDRE HARMONIUMS

AT

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 and 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.

ADOLPHE SCHLOESSER. DON PASQUALE.

Brilliant Fantasia on Donizetti's Opera. Price 4s.
ASHDOWN & PARRY, 18 Hanover Square.

MADAME OURY, IL BARBIE

ADAME OURY.—IL BARBIERE DI SEVIGLIA.

ASHDOWN & PARRY, 18 Hanover Square.

OLLMICK. ELFIN

Go

REVELS. ASHDOWN & PARRY, 18 Hanover Square.

OLLMICK. DIANA.

Go

Price 4s.

Price 3s.

Grand Galop de Concert.

ASHDOWN & PARRY, 18 Hanover Square,

Fantasia on

EDWIN M. LOTT. — SEMIRAMIDE.

Rossini's Opera. Price 4s.

ASHDOWN & PARRY, 18 Hanover Square.

H. W. GOODBAN-THE GIRLS AND BOYS'

OWN THE PIANOFORTE. An Easy, Concise, and Complete Course of Instruction. Price 5s.

I

ASHDOWN & PARRY, 18 Hanover Square.

GNACE GIBSONE.

LE CARILLON DE BRUGES.

Price 2s. 6d.