bar—andante, moderate, allegretto, allegro, and presto was sure to be a gallimarifry. I could never get my first finger far back enough for FH . Over and over again for hours, until my arms ached, my violin thumb benumbed, and my fingers inflamed, my head swimming, and the notes before me as Sanscrit—over and over again, I could never transit from the first string to the second without a hideous scratch. I could not take the third B in the bar with the fourth finger, so that my bow kept hopping about as if I were playing a saltarello; and so sure as I got into the second portion, as sure was the music to resemble Wagner's or Berlioz's sans tcte ni queue. I can't say how long I kept up this fun, but I soon discovered that it was time to go to bed, for my candle was all but out: in a few more minutes I should be in utter darkness. I gobbled down a portion of my supper (bread and a pickled herring), and throwing the rest to Fanny, had just one more try at Kreutzer. It was useless—FJf FJf, and when I got over that it was Bb in the second bar.

Disheartened, angry, and with tears in my eyes. I gave a deprecating look to Pngitrini on the wall, extinguished my light, and threw myself on the bed. Cold as it was, I was in a violent perspiration. The wind was blowing in fitful ruffianly blasts, as if it had a mission that night to frighten people out of the hiccoughs. Bang! it came, and immediately subsided into a low whistle in consecutive fifths. Ten or twenty bars' rest. Bang! bang! again, and off up to the weathercock on the top of the church, and giving him a twitch o' the nose to the east, making him

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After a few gusts more violent than the rest, my door flew open, and a tall, thin, lanky gentleman noiselessly stalked in 1 . . .

He was dressed in rusty black, and his clothes were made by contract, I should think; he must have bargained with his tailor that the less they fitted, the more he would pay for them. The collar of his coat was worn On the left side quite shiny. The inside of his left wristband was threadbare; about the middle of his waist, was a spot worn as polished as the looking-glass, as also under the right elbow. His sallow face looked as if it were made of yellow parchment, and made up into a tolerably good imitation of a skull—but an animated skull, for there were in it two eyes that would have scorched up mountains of snow. Eyes that spoke poems! Universe! Infinity! Chaos! Rhabdomancy! . . . . one look at him convinced me I had nothing but a skeleton before me, and I could not make out where I had seen this personage before. Well, in walked this tall serious suffering-looking figure. My violin, which was standing upright on the mantlepiece, instantly left its place, and flew to his hands. In its transit I distinctly heard the first string rise from Eb to EH, and the fourth descend from G half sharp to 61 of themselves. He quietly put the violin under his left arm, and proceeded to look about the apartment. He first observed the picture of Paginini over the mantlepiece—and as he stcod near it, it struck me the picture was somewhat like him. After having examined it for several minutes he gave a slight contemptuous smile, and looking at himself in the looking-glass, passed his hand through his long raven locks with a little look of fatuity I thought. He next noticed a piece of bread on the floor, and picking it up, put it carefully upon a plate, mumbling something sotto voce about PanC and Dio. He was looking at my Kreutzer with a naive smile on his face, and playing the first one pizzicato with his left hand only, when the church clock of the Boguinagc began to

strike twelve! He raised the violin to his chin—his whole body

became distorted—his left elbow covered that part of his coat which I had noticed so much worn—his left hip appeared as an unsightly excrescence. Hie long bony fingers curved nervously over the strings, and raising his right hand with the bow in it over the violin, at least a foot from it, he brought it down on the string simultaneously with the last stroke of the bell—he struck the same note, so precisely and with such percussion, that the note from the instrument and from the bell sounded as but one. It was D which he took with the third finger on the fourth string, in that very position which always puzzled me so much. The vibrations of the note reached me in about the third of a second—they ratified the atmosphere around me—I gasped for breath,

and lay enthralled on my couch as in a fearful nightmare. The note increased to intense sonority. Tho walls vibrated with it, and threw back echoes in thirds, fifths, and octaves. I heard it as the peal of a powerful organ, and it had the same effect on me as the first church music had, which I heard after the death of a dear relative: it made me weep bitterly. Never until now had I imagined what music there was in one note. The room grew luminous with sound. I saw every object about me as if it were standing in brilliant sunshine; the figure before me was transparent as crystal, and rich colours were chasing one another in it, as on an opal. The brilliant eyes were closed, and the features were playing in smiling yet painful ecstacy. With a suasive legato he glided up to Bb on the same string and intoned an Adagio religioso. Was this music learnt in Paradise? was it a prayer this poor spirit was offering? .... with such pathos, with such agonisiDg besecchfulness? .... on my knees I joined in his prayer, and in hysterical sobs repeated some of those

words, which caused my heartstrings to tend to snapping I

understood how poor penitents could heap ashes on their head .... flagellate their loins with knotted cords, and lick the dust from off the ground. I felt my littleness, my weakness, and all the awful sublimity of the Creator, when such a voice could sing so sublimely to Him. My heart was swelling and nigh bursting in my bosom, my brow was throbbing painfully, and I was about to swoon, when the melody broke forth in a Maestoso in the major key, which revived me and gave me hope! . . . . arpeggios recalling the minor melody smorzando, gracefully, tenderly, soothingly, gently augmenting, growing, rising and with a brilliant trillo breaking out with the clic-ti-»clack of a Tarantella—the first notes half restrained, gradually increasing in 'speed, until, worked up to frenzy, it burst forth as a savage Bacchanalian dance—wildly reeling, voluptuously writhing

At ,_n f " With the boom zi zing of the tambourine

Tempo di Tarantella J Aod (h(, cMk u ^ of (he cluUgn(.tte.._

and slentando, perdendosi, suavely into a little pastoral movement breathing cool breezes, refreshing shady bowers and furtive nooks, where amoroso some shepherd breathed con anima his love tale : so sweetly, despairingly and persuasively, that nought but that soft rapturous velvety voluptuous melody could have followed

And he swept over the strings with amazing rapidity—trillando, the four strings in fiiffi, staccato, pizzicato, nnisoni, Matte, sciolto, presto, prestissimo, fnrioso c con amorc scmpre, tempo di balto, pomposo, saltarello, smorzando—delirious, soothing, trio, duo, flutes, violins, and mandolinas—linnets and nightingales. I heard all this—he plunged me down into the deepest depths of hell, where demons howled fearfully; he wafted me on high in heaven, where angels whispered around me. He made me weep; he made me love; he made me feel tyrannical, charitable, ambitious, drunk, meek, saucy, religious, serio comic, tragic, melodramatic buffoon. He made me shed tears, he convulsed me with laughter—when—he suddenly stopped and looking at my fiddle, exclaimed, "Per Bacco! i cattiva! cattiva! cattiva '. dashed it to the ground, and smashed it to atoms ! . . . . This was too much of a joke! . . . Fanny (who, strange to say, had remained silent during the whole performance) began barking furiously, and sprang from the bed, followed by me. The room was pitch dark! . . . . I struck a light, and, sure enough, there was my violin on the ground, with the neck off and otherwise damaged ! . . . I looked under the bed, in the cupboards and found nobody. The door was

double locked— I had had a delicious dream, I had heard

Paginini. The tail-piece of my violin (which was standing on the mantlepiece) had given way; the instrument had fallen to the ground, and caused the fracas which awoke me.

The violin was soon mended, and a few days after, Fanny and myself treated the neighbours to the following due—

Any key, any time, any number of flats and sharps and ad lib.

Fan. Con anima.


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"I Feel, in common with every other Welshman, a" warm interest in a society which, like the present, has for its purpose the honour and prosperity of my country j and I shall therefore, before proceeding with my adjudication on the manuscript submitted to me, beg leave tr offer a few remarks on the position of music as connected with these meetings. Among other traits in our national character, is the great love for music, so enthusiastically exhibited by all classes of our countrymen. Nor can this surprise us if wo think how very rich we are in native melodies. These are so numerous, and yet so full of character, of energy and musical beauty, that I may safely assert, without exaggeration, that in respect of musical treasures, we are the richest people in the world, and I wish I could make the same remark on the wealth, which is of a less poetical nature. To direct attention to our native melodies, and at the same time to encourage the growth of musical education, are among the higher purposes which these societies have in view. Nor must we fail to acknowledge, that whatever our claims may be to musical progress, we owe it in a great measure to the influence of meetings like the present. To say that they are still defective, and require many improvements, is simply to say they are human. They have already affected much good, and will, I am sure, do still more, in raising our position as a musical nation. But to do this effectually we must get out of the circle in which we have so long moved, or otherwise our proceedings will be an illustration of the 'Blind leading the blind,' for musical intentions, unless they are directed by musical knowledge, are of very little value. Now what is familiarly called a 'musical ear,' is by itself an unsafe guide, if unassisted by a musical head. If we bear these things in mind we shall be justified in looking for encouragement from those who wish Welshmen success, not merely because what they attempt is Welsh, but rather, because it is really good; and, if we forget this, we must not be surprised if we are still open to censure. In order to carry out more successfully the work of musical advancement, we must endeavour to 'elevate the standard of the musical productions brought forward at these festivals; if not, we cannot expect to obtain the notice of the public in general, or to claim the approbation of those, who, in questions of art, we acknowledge to be authorities. If the purpose of these societies were merely to afford an opportunity to listen to some pleasant songs, or to performances on the harp, I should deem it unnecessary to say a word ; but as I believe that these societies have higher objects in view, and that they are desirous of extending the knowledge of music in Wales, I consider it my duty, as a Welshman, to make these observations. Many unjust and illiberal remarks have been made at the expense of these associations, which, from time to time, have been favoured with a very considerable amount of wilful misrepresentation. We arc told that they only serve to keep alive useless traditions — a language without a literature — and music only fitted for a half-civilised people. The language of Wales requires no defence at my hands, and I may therefore safely leave itjto those who are well able to take care of it. But the musical portion of these meetings require another word or two, — we are told, that notwithstanding all the efforts of these societies, they have as yet failed to produce either a Mozart or a Beethoven. This may be perfectly true ; but then it must also be borne in mind, that precisely the same remarks may bo applied to England, which with all its vast improvements in every branch of musical knowledge, and though it has produced many eminent men of undoubted skill in music, still, to the present moment, England, like Wales, has not yet given birth to any composer of original genius, since the days of Purcell. Whatever difference of opinion there may be then as respects the language of Wales, there can be none as to the excellence of its national music, which has at all times been a source of admiration, not to Welshmen alone, but to musicians of every country — and not only for their intrinsic worth as melodies, but also for the skill with which they have been constructed; and this seems most marvellous when we call to mind the remote period in history, when many of them wero produced ; R period so remote, that even art itself, according to our ideas of it, was a thing unknown. Among tho many great composers who have shown their admiration of our Welsh melodies, we may mention the illustrious name of Handel, who has not only admired but employed them in his own works, of which the introduction of the air 'Codiad yr Haul' is a memorable illustration. Among other causes for congratulation is the decided improvement in musical knowledge in all parts of the principality. And this remarkable progress has elicited the surprise of every one who watches the changes which are hourly taking place around us, and more especially of those who compare tho past with the present. My excellent friend, the Rev. Chancellor of St. Davids, in his eloquent address at the last Carmarthen Eisteddfod, calls attention

to this fact. He says: 'I hail the growing taste among my countrymen as an auspicious indication of increasing civilisation, and I am old enough (he remarks) to recollect the Eisteddfod, or Bardic Congress, held half a century ago, under the presidency of Dr. Burgess, then Bishop of St. David's; and in no respect is the contrast between that meeting and the present more marked than in the diffusion of musical science in the Principality during the interval that has elapsed since that Eisteddfod, unless it be the immense preponderance of numbers in the attendance this day.' These words ore worthy of attention as coming from one not only remarkable for his intellectual claims, but also for his knowledge in things pertaining to musical criticism. This improvement then in our musical education we unquestionably owe, in a great measure, to the influence of our Eistcddfodau, and in the next place to the excellent musical publications which by their moderate prices have been placed within the range of all classes of our countrymen. I hope that every encouragement will be given to the practice of choral music, and especially of that kind which includes the works of the great masters. England, in this respect, has set us an admirable example, for at this day her choral societies may challenge comparison with any in Europe; and as we possess amongst ourselves so strong a feeling for music, and an ample store of good voices, we may well look forward with hope; and let us anticipate that the efforts of men like Mr. John Thomas, and Mr. Owen, and others, will ere long effect as much for choral music in Wales, as Mr. Henry Leslie and his choir have already done for England. Our own national music is a thing of itself, and dwells as it were in a world of its own. Modern melodies, in every form and variety, are constantly springing up around us, but all these are fleeting shadows—flowers which blossom for the hour, and are soon forgotten. But our own native music seems endowed with eternal youth and beauty, and possesses a charm and a power over which the destroyer of all things, time itself, appears in vain to exercise its baneful influence. Let us then in every way continue to cherish the love of things so endeared to us by every claim of melody, and by associations and traditions which have almost made them sacred in our esteem. And as music must be acknowledged among the many blessings bestowed upon man by the Creator, let us endeavour, by every means at our command, to widen the sphere of its influence, and to take care that the power, of which it is capable, may be properly directed by education — for music, unaided by knowledge, is of little value in art. I must apologise for trespassing so long on your time j my excuse must be my subject. For in the matter of Welsh music, I feel every inch, a Welshman — nor am I ashamed to acknowledge, that there is no music in the world which exercises over my thoughts and feelings so wondrous an influence as the melodies of my native land. I have received for arbitration twelve arrangements of Welsh melodies, and amongst them several contain proofs of much musical skill and knowledge of choral effects. The principal errors consist in a mistaken view of the characteristics of the tunes, which are treated for the most part, as though they were serious melodies. The combinations, which would be very effective, and most appropriate in sacrcdjmusic, are quite out of place in a spirited air like the ' March of the Men of Harlech.'

"One writer disarms my criticism by signing himself 1 Beginner,' and of which I have no reason to doubt the truth. He must not, however, be discouraged if he does not this day succeed in gaining a prize. But I trust when he next sends a composition there will be some attention to the handwriting, for the manuscript before me would almost puzzle tho skill of Mr. NethcrcIitF himself to decipher. The best compositions are those which bear the signatures of ' Meirion,' 'Oliver,' 'Croft,' and 'Welshman.' The writer who signs himself' Onesiphorus' commits the grave error of altering the melody itself, and this, I need scarcely add, is by no means desirable, for a Welsh air neither requires nor admits of improvement. I recollect once seeing in an old volume an edition of the Merry Wives of Windsor, with additions and improvements by the editor; but I do not before remember an instance in which an attempt is made to alter the outline and form of a melody so full of character and tune as the ' March of the Men of Harlech.' Another mistake is the introduction of harmonics which arc too. harsh and chromatic for the melody; and I also see strong proofs of that disposition to employ the ponderous harmonies which so often disfigure choral music it Wales, and especially the music in our places of public worship.

"The author of the arrangement signed 'A Welshman' may be complimented for the knowledge and ingenuity which he exhibits, but the prize for the arrangement of the ' March of the Men of Harlech' I award to ' Meirion.'

"Among the arrangements of the second subject—' Nos Galan'—the most meritorious are those signed'Glandwr' and'Roger de Lisle;' and to the last-named,' Roger do Lisle,' the prize is most justly due."

TO CORRESPONDENTS. Die Redaction Deb Neuen Berliner Musik-zeitunq. — We have great pleasure in rectifying a mistake we made in attributing the information on which two articles in Nos. 27 and 29 respectively of the Musical World were founded, to the Niederrheinische MusikZeitung, instead of to the Neue Berliner Musik-Zeitung. With regard to the other part of the letter from " Die Redaction" it is possible that our correspondent may not have time to attend every musical performance; and such being the fact, he cannot possibly do better than avail himself of the trustworthy reports of our respected contemporary.


To Advertisers.Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magazine of Messrs. Duncan Davison & Co., 244 Regent Street, corner of Little Argyll Street {First Floor). Advertisements can be received as late as Three o' Clock P.m., on Fridaysbut not later. Payment on delivery.

~ I 7wo lines and under 2s. 6d.

Hums | Evcry additional \q won& 6rf.

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.


AGENTLEMAN, who some years ago held no undistinguished place among modern popular ballad writers, a few days since sent a MS. song to a well-known music publisher, soliciting its purchase, and received the following answer by return of post:—" Sir,—There is no use of my inspecting your composition, as you tell me it is of the sentimental kind. Indeed, I have long since refrained from doing anything in the song, way that is not low and comic, as nothing now has the slightest chance of success with the public—if it be not introduced into an opera, or sung frequently by. some favourite vocalist—unless it be of the 'Perfect Cure' or ' The Whole Hog or None' species."

Can this be true? and, if so, how account for the intellectual progress of music in England, so broadly and universally insisted on? If we go to the Monday Popular Concerts, and draw our inferences from what we hear and see there, we cannot help feeling assured that a purer love of music, and a more sound appreciation than formerly, is betokened in a manner not to be mistaken. The gravest and most elaborate works are heard, not merely with attention, but delectation, and audiences are dismissed not only not bored, but determined to come again to hear and enjoy. At the Italian Operas, too, frivolity and fashion have in a great measure faded away before enlightenment and taste. We no longer have presented on the stage such works as Meyer's Medea, Paccini's L'Ultimo Giorno di Pompeii, Mercadante's Elisa e Claudio, Cimorosa's Gli Orazi, and many others now hopelessly consigned to the tomb of theCapulets (with, by the way, appropriately, the Romeoe Giuglittta of Zingarelli); but in their stead compositions of the highest worth, the masterpieces of Mozart, Rossini, Meyerbeer, Auber, Bellini, and Donizetti, hold their sway, and prove eminently attractive. When

we find such operas as Don Giovanni,GuillaumeTell,ihe Barbiere, the Huguenots, the Prophite, and MasanieUo drawing crowds night after night, and season after season, we can only arrive at one conclusion—that the public admire them. Time was—not many years since—when .Dow Giovanni was given two or three times a year merely to conciliate the pit and galleries, to the manifest distaste of the subscribers and Lord Dundrearys of the stalls. Now it has become absolutely one of the most favourite works in the repertory with boxes and stalls as well as pit and galleries, and no amount of representations appears to dull the edge of its attraction. There is no doubt that taste and judgement in operatic audiences are vastly superior to what they were in the days when George the Fourth was King, and that music has made more rapid strides in England than any other art.

There is, however, a reverse to every medal. Although it cannot be denied that a large accession has been made of late years to our musical knowledge, and that the critical faculty, as applied to the art, has been exercised with a power it never before possessed, it must be acknowledged that in one respect music never held so degraded a position in this country as it does at the present moment. Whoever doubts this, let him go to one of the many so-called "Musichalls" with which the metropolis so horribly abounds, and he will there hear things absolutely incredible in an age of progress and refinement. These "Halls" are not humble concert-rooms, or places of entertainment, such as landlords of public-houses set up to entice the thirsty to continue their potations, but magnificent saloons, dazzlingly illuminated, pictured, and decorated after a costly fashion, with an orchestra and conductor provided, and a company of vocalists. At first these "Halls" were started with the additanient of a song or two as collateral security for the excellence of the brandy and tobacco. The frequenters, however, 'soon progressed into amateurs, and called for Sonnambula and Verdi. But these mild stimulants could not hold their way long beside the fiery liquors and the burning weed. Legitimacy was thrown overboard, and a tumultuous cry raised for something more exciting. Comic singers came into vogue, and Sam Collins, Sam Cowell, Mackney, Stead, and other superlative artists of the nondescript kind reigned for a time in the smoky places. Alas for the fickle multitude! they roared for still further excitement. Then came to the want of ever-considerative landlords perambulators on ropes and jumpers from suspended handles, eloquently denominated the "trapeze." Blondin at the Crystal Palace, and Leotard at the Alhambra, encouraged the revolution. Fortunately for speculators, mankind generally prefer imitation to originality, and the followers of Blondin and Leotard flourished at the expense of the principals. The excitement derived from straight rope walking and the trapeze feats would to a certainty have palled upon the general taste had not happily a few accidents lent it a novel whip and spur. The fall of a human being from a great height, attended with a broken collar-bone and two or three fractured limbs, awakened popular sympathy in a remarkable degree, and led to a further expectation of even a more dreadful calamity; and in fact a death or two happened in the very nick of time, or there is no knowing to what extremity music-halls would be driven to keep alive enthusiasm; and it is feared by the shrewdest proprietors, that unless something new or very terrible turns up soon, these splendid places of amusement will, for want of sufficient patronage, have to lower their gas and higher their charges.

There are a great many public executions now taking place throughout the country, and no doubt, with the blessing of human nature and the law, there will be a great many more. Why should not the proprietors of music-halls apply to the Home Secretary to allow the performances to be carried out on their platforms? By this means the people might be amused and warned at the same time, and no disappointment ensue. As the proprietors pay high duties, the Government would probably take the proposition into their tender consideration; and as the charges of admission to the halls would be doubled, they might consult about increasing the tax. It would be curious to see the "never-failing" Calcraft taking the place of the "inimitable Mackney" and the "untiring Stead," and carrying away the palm from both in point of execution.

rpHE pianoforte sonatas of Beethoven are one of the richest -L legacies which his extraordinary genius bequeathed to the world. Like the orchestral symphonies and the quartets for stringed instruments, they extend through the greater part of his career, and portray, one by one, the successive modifications of his style. The complete Beethoven may be seen in them, from the early period when the natural and legitimate influence of Haydn and Mozart was visible, to the last, when the poet-musician had cast aside every trammel. There is as wide a difference between the three sonatas for pianoforte solo (Op. 2) dedicated to Haydn and the sonatas from Op. 101 to 111 (inclusive), as between the first six quartets (Op. 18) and the so-called "Posthumous," the first symphony and the colossal No. 9, or the mass in C and the mass in D.

While the speculations in which many writers indulge about the " three styles " appear somewhat allied to paradox, it is quite certain that among the great masters Beethoven is the one whose various compositions bear the least individual resemblance to each other. This may be traced to a fact which, though questioned by some authorities, is nevertheless true—viz. that Beethoven, of all composers, is most eminently distinguished by the absence of mannerism. . Bach and Handel, Haydn, Mozart, and Mendelssohn, are not only recognised by their power, but by their manner—by peculiar turns of phraseology perpetually recurring, by certain forms of cadence, progressions of harmony, figures of accompaniment, and even arrangements of orchestral colour. A striking instance of this may be cited in Mendelssohn, whose partiality for resuming his leading themes through the medium of surprises (frequent examples of which occur in Elijah), although so ingeniously employed, and with such constant charm that it has been counted among his remarkable beauties, must not the less be reputed an indication of mannerism, inasmuch as, whenever an example occurs, its author is immediately recognised. With Beethoven the case is otherwise. He had no such predilection for "surprises "—at least, for " surprises" artistically pre-rcalculated and wrought out into a system. The few seeming evidences to the contrary perceptible in his first works are chiefly traceable to Mozart; and those belonging to his last (to be found, for the most part, in the violin quartets) are rather eccentricities than mannerisms. In the compositions of the middle period, when Beethoven, entirely uninfluenced by any preceding or contemporary model, was in the zenith of his powers and the most unlimited command of his resources, there is not a shadow of mannerism. The secrets of the master's workmanship are everywhere concealed, and the unexampled originality of his thoughts appears almost as natural as the unsophisticated prattle of a child. The much-disputed reprise of the subject in the first

movement of the Eroica symphony, and the opening of the last movement of the Pastorale, are not "mannerisms," but merely exceptions to a general rule. The long-suspended climaxes, which Beethoven himself invented, and of which noticeable instances occur in the finale of the Rasoumoffsky quartet in C major, and the last movements of the symphonies in D and C minor, are no more " mannerisms " than Handel's double-choir or Mozart's counterpoint.

Not to pursue, however, questions that relate to Beethoven in the abstract, the pianoforte sonatas, besides being valuable on account of their exhaustless variety and beauty, present an epitome of the man, and an illustration of his artistic progress from the beginning to the end. The growth of his astonishing genius, and the successive steps through which it attained its highest point of manifestation, are exemplified as logically, and at the same time comprehensively, as though he had written nothing else. A complete collection of these sonatas, at a price to bring them within reach of thousands whose means, however great their desire to possess them, are unequal to what would previously have entailed so heavy an outlay, can hardly, therefore, be otherwise than acceptable; and it is with pleasure that we call attention in our leading columns to the new edition, edited by that esteemed professor, Mr. W. Dorrell, which contains a life of Beethoven (by Mr. Macfarren), and the whole of the pianoforte sonatas. The excellent editions of Mr. Charles Hall4,* Professor Sterndale Bennett, J Herr Moscheles,t &c, have done a world of good, and will continue to exercise a wide and beneficial influence; but "The Guinea Beethoven"§ addresses itself to a special class of amateurs, and may lay claim to the additional title of A Beethoven for the Million.

To the Editor of the Musical Wobld.

SIR,—I was much pleased to see the letter in your last, from "An Organist in the North," as it broaches a subject which I have often thought required ventilation.

It may be truly said that the present is a go-ahead age; we have ingenious artists who make a counterbass sound like a violin, produce a piccolo solo from a trombone, and vice versa. It really seems as though organists were seized with a like mania, and endeavoured (frequently with success) to produce the effect of a rather superior " hurdy gurdy upon some of the noble instruments in our concert halls and elsewhere; for this peculiarity is by no means confined to the Exhibition.

Five out of six organ programmes do not contain a single piece of organ music. This is really too bad.

What would one of our "overturing organists" think, if after giving a performance at, say the Crystal Palace (chiefly consisting of operatic selections, adaptations from symphonies, and other orchestral works), he were to hear the band on the opposite side strike up Bach's Pedal Fugue in G minor? I fancy he would be inclined to accuse the band of trespassing on his domain, never for a moment thinking that he had just been guilty of the same offence towards them.

But this is not the worst side of the question; I was recently horror-struck by seeing in the programme of a celebrated organist—a polka! Now, what does all this mean? The offenders will tell you that " the public taste must be the guide;" but I consider this a gross libel on the public taste.

* Chappell and Co. % Cramer, Beale & Wood,

f Addison, Hollier & Lucas, § Boosey & Sons.

The Operas.

· How is it that the public will attend and enjoy pianoforte

recitals, where only classical pianoforte music is rendered, and yet lay itself open to the charge of an utter want of taste for the classical music of a sister instrument ? If the

HER MAJESTY'S THEATRE. state of the public taste is really so bad, it is high time that On Saturday night the "extra-season" terminated with a varied enter. something should be done to improve it. I think that tainment, “ for the benefit of Mlle. Titiens," comprising the first act

and a part of the sccond act of Norma, the scene of the madness from were some of the leading men in the profession to set the ex

Lucia di Lammermoor, and a ballet divertissement from Robert le Diable. ample, and devote at least one-half the programme (as the

The house was crowded, and the heroine of the evening was fêted with “ Organist from the North” suggests) to classical organ

enthusiasm. At the end of Norma the stage was strewed with bouquets, music, we might then reasonably expect to find improvement. wreaths and crowns, and after the scene from Lucia the demonstrations Putting all this aside, however, ought not organists and were renewed in a similar fashion. The gifted German sougstress, now

one of the brightest ornaments of our Italian Opera, never sang more musicians in general, to be taken into account? They can

brilliantly, never acted with greater energy, and never proved more appreciate the masterpieces of Bach, Mendelssohn, &c., yet

emphatically --no Italian successor of Giulia Grisi being at hand-her never by any chance hear them at a public performance,

right to occupy the vacant throne of lyric tragedy, and to claim prebeing regaled instead with dance music; whilst the piece eminence for years to come as the Norma, Lucrezia and Semiramide of nearest resembling organ music is probably a chorus of the London boards. The ungrateful character of Pollio was allotted to Handels, played so exceedingly quick that the composer

an English tenor - Mr. Swift -- who during the illness of Sig. Giuglini

has done good service in several operas, including among others Lucrezia himself would fail to recognise it.

Borgia and Il Trovatore. Mr. Swift, whose finc voice and musical Hoping that you will use your powerful influence in intelligence were always admitted, has made remarkable progress, and rectifying this evil, I remain, yours,

may fairly be complimented on having supplied with so much ability A MANCHESTER ORGANIST. and so entirely to the satisfaction of the patrons of Her Majesty's

Theatre, the place of an artist of such high standing. After the operatic -

performances the National Anthem was sung, Mlie. Titiens taking the The English Opera AssociATION.-It is now reported that solos. There was then an unanimous call for Mr. Mapleson, who came Her Majesty's Theatre will be the arena for the first exploits of forward under the auspices of his accomplished prima donna," to this new Company, the remainder of Mr. E. T. Smith's lease at receive the well-merited congratulations of his friends. Drury Lane Theatre having been disposed of to Mr. Faulkner. Mr. Mapleson's first essay as director of Her Majesty's Theatre has,

SIGNOR Mongini is engaged by Mr. Mapleson for next season on the whole, been extremely creditable. Although the enterprise was at Her Majesty's Theatre.

undertaken at a momcni's notice, and carried through more or less in a MLLE. PATTI AT MANCHESTER. (From our own Correspondent.)

| hurry, it has exhibited such marks of vigour as to warrant a conviction

that the old theatre" may have some years (who knows how many?) Mlle. Patti gave three performances last week at the Theatre

to run before it can be looked upon as a thing of the past. It has life Royal, Manchester viz. the Barbière on Tuesday, the 26th, Don

in it yet, notwithstanding its past reverses. Of this, indeed, we think Pasquale on Thursday, the 28th, and Sounambula on Saturday, the

there can be no question. The present campaign has shown how spirited 30th. The attendance each night was overflowing, and the young management may bring it fresh supporters to fill up the ranks of those prima donna's success immense. On the last night especially, when who have died off or seceded. Among other noticeable points that have the Sonnanbula was performed, the excitement was unprecedented, distinguished the policy of the new direction must be signalised the the “crush ” awful, several hundreds being refused admittance. Il very decided improvement of the orchestra. Sig. Arditi-an excellent need not inform your readers how Mlle. Patti sings and acts the conductor under any circumstances, but, nevertheless, unable to achieve parts of Rossina, Norina, and Amina (all, by the way, ending in miracles-has, no doubt, seen the imperative necessity of reform in this "ina,” like her own charming pre-name " Adelina") as well as department, and acted accordingly. Such a performance of the orerture Zerlina, perbaps, except “Dinorah," the most perfect of her

to Guillaume Tell as that which on Saturday night was bonoured with an ptions: it is enouvh to say that the public, which were led / uproariousencore,” was something of later years unknown to the sop, to expect the highest talents and the most consummate art, were not

porters of the Opera in the Haymarket, at one time possessing the noblest disappointed. I must say we have had no such Rosina as that of

band of instrumentalists of which any European theatre could boast. Mlle. Patti in Manchester within my recollection; and to my

Let a proportionate advance be made in the chorus (which Sig. Chiara

monte is quite capable of effecting), and, as far as the comparatively thinking her performance of that most fascinating-and let me

limited resources of the stage will permit, in the general arrangements add, most exacting --of lyric-comedy parts, is absolutely faultless.

of the mise en scène, and we may have to speak of the result of a second Amina, bowever, touched the audience even more deeply, Mlle.

season in far less qualified terms. As the new manager seems deterPatti's success indeed as the Sonnambulist being unexampled. I mined upon representing the great works of Meyerbeer (and how, do not know how many times she was recalled, but I remember

indeed, can he be expected to ignore them, with Mlle Titiens at the that the stage was at one time literally covered with bouquets, head of his company), these are considerations of vital importance. To and that more beautiful bonâ fide bouquets I never saw. Signor compare the Huguenots and Robert le Diable of Her Majesty's Theatre Gardoni was principal tenor and Signor Delle-Sedie principal with the Huguenots and Robert le Diable at another house would, under barytone in all three operas. It was a matter of no small regret actual circumstances, be absurd; and this notwithstanding Mlle. Titiens, that the Sonnambula could not be repeated, but Mlle. Patti's pro

who in her way at present stands alone, and some few artists at least as vincial engagements precluded the possibility of another perform

good as their immediate contemporaries in Bow Street. ance in Manchester. On the 3rd she was to appear at Plymouth,

A glance at the prospectus which set forth the proposed arrangeon the 4th at Exeter, and the 6th at Bath. On Monday she goes

ment, will show that Mr. Mapleson has carried out almost all his to Clifton, on the 9th to Salisbury, and on the 11th to Liverpool.

promises with regard to his company of singers, and even brought

forward one or two not originally announced. Mlle. Kellogg, the If her success in her new progress only equal what she achieved at

American “ prima donna," from whom so much had been anticipated, Manchester, her whole journey will be a series of triumphs.

was unable to fulfil her engagement; but at the eleventh hour : thoroughly efficient substitute was obtained in Miss Louisa Pyne, whose

cooperation with Mlle. Titiens and Mlle. Trebelli in Mozart's great LEIPSIC.- A new portrait of Robert Schumann has just been pub comic opera, Le Nozze di Figaro, helped materially to provide for the lished by G. Heinze, who, some time since, published the large one of lovers of genuine music one of the most delightful treats of this bo him, as a pendant to the well-known Beethoven portrait. It is in the musical year. The execution of Le Nozze generally, indeed-with carte de visite form, without, however, being a reduced copy of the large Gassier as Figaro, Mr. Santley as the Count, and the minor parts more portrait. It is photographed from an original picture in the possession than respectably sustained- would, in spite of certain shortcomings, of Mad. Clara Schumann, which was taken in Dresden. The composer have done honour to any establishment. The mention of Mr. Santley is represented with his head supported, reflectively, on his arm, a reminds us that he too was an unexpected acquisition – as an amerde favourite position of his. It is decidedly the best likeness which has honorable, so to say, for the non-appearance of Signor Graziani, who. yet appeared of him.

though under a positive engagement (as it subsequently appeared) at the

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