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"Oh! Glorious Age of Chivalry." Duet. Sung by Mlle. JENNY BAUR and Miss EMMA HEYWOOD 4s. Od. "The Solemn Words his Lips have spoken." Grand Air. Sung by Mile. JENNY BAUR "The Love you've slighted." Ballad. Sung by Mile. JENNY BAUR Stratagem is Woman's Power." Ballad, Sung by Miss EMMA HEYWOOD "Love is a gentle Thing." Ballad. Sung by Miss EMMA HEYWOOD "A Young and Artless Maiden." Romance. Sung by Herr Reichardt "There's Truth in Woman still." Romance. Sung by Herr REICHARDT

4s. 6d. 2s. 6d.

2s. 6d. 2s. 6d.

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2s. 6d. 2s. 6d.

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FANTASIAS, QUADRILLES AND WALTZES. Brinley Richards' Fantasia, on “ Once too Often ” Emile Berger's Fantasia, on " Once too often" "Fontainbleau Quadrille," by Strauss. (Handsomely Illustrated in Colours) "La Belle Blanche Waltz," ditto "Mr. Glover's operetta is a decided, and what is better, a legitimate, 'hit.' The songs before us have already attained a well-merited popularity. The monks were jolly boys' is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Formes. The love you've slighted still is true (for Mlle. Jenny Baur) has a melody of charming freshness. Not less a model ballad in its way is A young and artless maiden ' (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are, is 'Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils.”—Musical World.

AND

PIANOFORTE AND HARMONIUM WAREROOMS AT No. 16.

AND

PIANOFORTE AND HARMONIUM WAREROOMS AT No. 16.

VOL. 40-No. 33

THE ENGLISH OPERA ASSOCIATION

(LIMITED).

IN SHARES OF £2 EACH. £1 PER SHARE TO BE

PAID UP ON ALLOTMENT; THE REMAINING £1 PER SHARE WILL
NOT BE CALLED UP UNLESS NECESSARY.

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To whom communications should be addressed, 4 Cambridge Place, Regent's Park, N.W., or to Mr. SHEPPARD, 28 Grosvenor Street, W.

WINCHESTER

INCHESTER CATHEDRAL-A TENOR Teaching the Choristers Music, will be shortly required. Though not required to play in Church, he must have some knowledge of the Organ, and be well versed in Cathedral Music. Attendance required at every Service. Stipend of the Lay-Clerkship, £72 per annum; of the Organist's Assistant, £50.

Applications, stating age, compass of voice, and other particulars, to be sent to the Rev. the Precentor as soon as possible.

DURHAM CATHEDRAL.

THE APPOINTMENT of a TENOR SINGER to the September next.

The Trial will take place on the Thursday and Friday of the preceding week, immediately after Morning Service.

MR.

o'clock, on Blanchet's Pianoforte, in the gallery of the French Court, and at Five o'clock on Pleyel Wolff & Co.'s.

M.

All Applications and Testimonials must be sent in, addressed to Mr. EDWARD. PEELE, Registrar to the Dean and Chapter of Durham, at his office, in the College, The travelling expenses of the Candidates who shall be suminged to the trial will be paid by the Dean and Chapter. College, Durham, July 23, 1862.

GENTLEMAN, aged 28, a Writer upon Art, is

desirous of obtaining a post as Secretary or Clerk, or in any capacity where business habits, literary ability, good address, and a disposition to make these generally useful, might be required. Good references. Salary moderate. 67A St. Paul's Road, Camden Town

J.

NE

MUSIC IN BERLIN. (From our own Correspondent.)

My chronique musicale, properly so-called, will not be very long this week, for the simple reason that I have not much to offer you in the way of news. However, I will do the best I can, and no one, as far as I know, can well do more. The first fact to be recorded is the appearance of the liliputian violinists, Julie and Juliette Delepierre, at the Victoria Theatre. Without going into a detailed account of their performances, I may observe that they were greatly applauded, and vociferously summoned at the conclusion of the entertainment to bow, or rather curtsey, their thanks. For myself, however, the sight was not a pleasing one. I do not like infant prodigies, and when I saw these two little children standing before the astonished and excited audience, with scarcely a smile upon their tiny faces, and a "plentiful lack" of animation in their large, lustreless eyes, I could not help asking myself the question, What must they have gone through; to what severe and exhausting training must they have been subjected; how must they have been isolated and cut off from all the usual sports and pastimes of childhood-nay, almost infancy-to be enabled to attain such a degree of skill? The subject, to my mind, at least, is a sad one, well adapted to the moralisings of any modern "melancholy Jacques."

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All Berlin has gone mad about the Japanese Ambassadors, who have been fêted, lionised, and caressed to within an inch of their lives, that is, unless they are blessed with such superhuman constitutions as not to feel that pleasure may sometimes be attended with fatigue. Among other entertainments got up for their especial behoof, by Royal command, was a monster military concert, at the above theatre. Both the buildings the so-called summer and winter theatres were flung into one, so as to form a single immense hall, in which the different bands were heard to the greatest advantage. All the pieces, performed with admirable dash and precision, were warmly applauded. The performances of the warrior musicians were varied by the execution of "Le Carnaval de Venise," played by the little Delepierres. The gardens attached to the establishment were gaily decorated, and illuminated like poor old Vauxhall on extraordinary occasions in days of yore, by I do not know how many thousand additional lamps, the interesting strangers expressing their satisfaction with an amount of demonstrative eagerness contrasting strangely with the stoical placidity which, I hear, was the prominent characteristic of their demeanour in London. At Kroll's, also, a grand concert, followed by tableaux vivants, which appeared to please them mightily, was given for their delectation. Determined not to be behindhand in politeness, and actuated slightly by the knowledge that the public is sure to follow wherever the Japanese go, the management of the Friedrich-Wilhelmstädtisches Theatre gave them a concert and a grand display of fireworks. The programme comprised, among other things, Offenbach's Orpheus, the libretto being considerably abridged, and, moreover, translated into English for the benefit, I was informed, of the illustrious foreigners, though how it could benefit them I am at a loss to discover, as I do not think they know much more of English than of German; they are certainly far better acquainted with High Dutch than either. The sisters Delepierre, who did not prove a pecuniary success at the Victoria Theatre, have moved to this establishment. I hope they may be more fortunate in their new quarters, but I have no very firm faith in the realisation of my hope.

Mad. Rettich, the celebrated tragic actress, or, to use the word now in fashion, tragédienne, from the Imperial Burg-Theater, Vienna, has been declaiming Schiller's ballad, "Hero und Leander," with a musical accompaniment by Lindpaintner. I am not at all astonished that a musician should be worked up by his admiration for a production like "Hero und Leander " to illustrate it musically, but, at the same time, I must frankly avow my opinion that a mixed composition of this class -declamation and accompanying music-possesses no vitality, because it is surrounded by insurmountable drawbacks in the way of execution. In the first place, the harmony of the whole is materially affected by the circumstance that, at stated intervals, the progress of the poem is suspended, in order that the musical composer may have an opportunity of colouring, and imparting greater force of expression to the words of the poet. Pauses thus intervene, which cut up the poem and have a prejudicial effect upon the dramatic interest. Such phrases are probably painful to the audience, who follow the declamation with breathless eagerness, and yearn for the catastrophe. Besides this, every speaking voice becomes powerless, when, as in the present instance, in the description of the tempest, it attempts to dominate over the orchestra playing fortissimo; it is like a Jew's harp trying to drown the swelling and majestic tones of the organ at the Crystal Palace; the words are generally lost, while the music, with its merely general forms of expression, is incapable of supplying their absence. Thus the effect of the whole is merely a kind of half-and-half, and, by no means, satisfactory

one. Lindpaintner's music written in Spohr's style is sometimes happy and characteristic, but deficient in originality, and certainly not to be compared with the poem it is intended to illustrate. The orchestra, under the direction of Herr Hauptner, performed its task, not at all an easy one, by the way, with excellent judgement and gratifying success.

Brendel's Musik-Zeitung has just found a mare's nest of colossal proportions. Herr Gustav Schmidt announced a new opera, entitled La Réole. At this the publication in question was exceedingly irate, asserting that a French title was unsuited for a German opera. It went on to say, also, that La Réole was simply nonsense; a typographical error for L'Auréole, or La Créole. Alas for the infallibility of Brendel's Musik-Zeitung! "La Réole" is the name of a town on the Garonne, in the department of the Gironde, and, as the story is laid there, the opera has been called by the composer La Réole. I would strongly recommend that a gazeteer be forthwith added to the paste, scissors, and other editorial accessaries in the editor's room of Brendel's Musik-Zeitung.

Concerning the movements of musical artists, I may mention that Herr Poorten, a violinist, has arrived from St. Petersburg, where, according to report, he is highly esteemed as an executant and composer. Herr Th. Kullack has gone to drink the waters at Reichenhall, and Herr Wieprecht has proceeded to Kissengen. Mlle. Artot is paying a visit to her family at Brussels; Mad. Bürde-Ney, stopping with her sister at Linz. Herr Paul Taglioni, of the Royal Opera House, goes as ballet-master, during the next carnival season, to La Scala, Milan. I have already told you that my chronique musicale would not be very long this week. The proof is in your hands. J'ai tout dit. VALE.

PARIS.

(From our own Correspondent.)

THE Parisians themselves appear to be getting gradually tired of the eternal repetition of the same round of operas, and it may actually be affirmed that the musical public is progressing towards something better, if only because they are returning with pleasure to the productions of the good old school, and by degrees getting over their ravenous hunger for novelty, and nothing but novelty. Whether the fashion or custom of introducing classical instrumental works, at concerts and matinéeswhether the Conservatory Concerts, and, still more, the Symphony Performances of Pasdeloup, are evoking a taste for operatic music of sterling worth, is something I will not positively assert, but it seems as if such was the fact. At the Grand Opera, for instance, they have gone back to Halévy's Juive, and are rehearsing Auber's Muette, which is to be revived with everything new. At the Opéra Comique they have even taken up Pergolesi's Servante Maitresse, and Grétry's Azor et Zémire. They are, moreover, giving Le Maçon and Haydée, besides preparing Boieldieu's Jean de Paris, in which the tenor Warnotz will make his first appearance. A little later La Dame Blanche will follow, with Achard as George Brown, as Roger has now retired, and intends living on his income, which he thinks of increasing considerably by the sale of his château and park, with its Halévy, Mozart, and Rossini Alleys, its Meyerbeer, Adam, and Rossini "Places," &c. &c.

In the way of novelty, there will be Hector Berlioz's Béatrice et Bénédict, the general rehearsal of which has already taken place in the Théâtre Lyrique, and greatly pleased an audience specially invited. But is it a novelty for Paris ?-that is the question. The opera was to be given in Baden-Baden on the 11th inst. Berlioz will have no resource left but to send his Trojans as well to Baden-Baden, if he wishes to see it produced. But even this would be attended with difficulties, as M. Benazet is said to patronise "Greeks" more than Trojans.

Rossini has taken up his abode in his new villa at Passy, near Paris. The villa is situated close to the railway station, and it is reported that the old maestro, whose ears are so frequently stunned by the noise of the locomotives, has just composed a piece in which he introduces, with incomparable humour, the whizzing, fizzing, squeaking, creaking, groaning and moaning of the engines; the ringing of the bells; the hallooing of the conductors, and, in a word, the infernal hubbub which characterises all railway stations. This looks like him, for he is fond of a joke. But he is far more serious than many persons believe. Whenever an artist talks with him about music, he displays great warmth of heart, and great enthusiasm for the masters of his art, especially for the The readers of the MUSICAL. WORLD may, perhaps, immortal Mozart. remember the dialogues between Rossini and Ferdinand Hiller, published two or three years ago in this paper. In these interesting dialogues, mention is made of the talented singing-master, Piermarini, whom Rossini values very highly. As a mark of his respect the latter sent Piermarini a portrait of Mozart, under which he had written in a bold