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by Geo Rob Andrew Spottiswoodk, of No. 12 James Street, Buckingham Gate, In the Parish of St. Margaret, in the City of Westminster, at No. & New-street Square, In the Parish of St. Bride In the City of London. Published by John Boos By, at the Office of Boobbt t* Sons, 28 Holies Street—Saturday, September 6,1862


"The Worth Op Art Appears Most Eminent In Music, Since It Requires Ho Material, No Subject-mattes, Whose Must Se Deducted: It Is Wholly Form And Power, And It Raises Amd Ennobles Whatever It Expresses."— Qc&t.

STJBSCHIPTION-Stamped for Postage—20a. PBB AJTNTJM Payable in advance by Cash or Post-Offlce Order to BOOSBY & BON'S, 28, Holies Street, Cavendish Sq. London, "W.

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_L and December, 1862.'


MAD. GASSIER (Her first appearance In the Provinces these three years). MLLE. MAKIE CRUVELLI (Of the Grand Imperial Opera, Berlin). MB. SWIFT (The popular English Tenor).

HBBB JOSEPH HEBMANNS (Prlmo Basso of Her Majesty's Theatre),


SIONOR BOTTESINI (Contra Basso, his first appearance In the Provinces

these two years.) ". Director MR. LAND,

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


X KLUTES, WITH THE OLD SYSTEM OF FINGERING.—Boosby A Sons have much pleasure in announcing that these instruments have received the Prize Medal of the International Exhibition. An Illustrated Catalogue may be obtained upon application to the manufacturers, Boosbt it Boss. 24, Holies Street, YV.


SAND INSTRUMENTS, CORNETS, *c—Boosey & Sons have much pleasure In announcing that those Instruments have received the Prize Medal of the International Exhibition. An Illustrated Catalogue may be obtained upon application to the manufacturers, Boosey & Sons, 24, Holies Street, W.

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Principal HENRY WYLDE, Mus. Doo.

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Singing, Slgnor Gabcia and Schwa.

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Harp, Herr Obxkthcx. Violin, Herr Janza. Viollncello, M. Paqor. Italian, Slgnor Maogioni. Elocution, Mr. Ryder. Lady Superintendent, Mrs. Day. This Academy Is designed for Vocal and Instrumental Students, Ladles and Gentlemen (Professional and Amateur), desirous of receiving a complete Musical Education from the best London Professors, on the terms of the Continental Institutions. Tub Fie Is Five Guineas Per Term. The year Is divided Into Three Terms. The term commenced oa Thursday, September 11.

Candidates desirous of entering as Students are required to attend at the Hall on Tuesdays, between 10 and 2 o'clock.

Prospectuses of Mr. Austiu, at the office, St. James's Hall, Piccadilly.

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(Characteristically Illustrated). >. <*.

"What Next Quadrilles" (Robin's Last), with eornet accompaniment ... 4 ■

11 Tho Spirit Rapping Polka," dedicated to all splrlt-rappers' mediums ...So

"The Llewellyn Waltx," dedicated to Mr. Baekwell, U.M. 3rd R.WJC ... 3 •

London: Duxoas Davison & Co., 244 Regent Street, W.

"The Song of May"

"When thou and I last parted"

London: Dcncan Davison & Co., 244 Regent Street, W.

NEW SONGS BY ALEXANDER REICH&$P^W) "Good Night" (Cradle Song) vi^^1

"Memory" (dedicated to Miss Helen Hogarth) ... ^..<

"Are they meant but to deceive me f" A.

"The Golden Stars" <J.f

"Thou art so near and yet so far," as a Vocal Duet

London: Dokcan Daytsoh & Co., 214 Regent StrttV


. fcfo fnrnoWe State.

DREAM DANCE. For the Pianoforte. By Emanuel Aguilab. as.


Jj OPEBETTA, "ONCE TOO OFTEN." By Emilk BiBsra. 3s.


* . London: Dcncan Davisojc & Co.

"Thoio are three morceattx de salon of the most elegant description. Mr. Aocilak's 1 Dream Dance' is a graceful and Imaginative movement, which would make a charming accompaniment to a dance of sylphs or fairlos in a ballot. Mr. Burger has selected as Iho themes of Ids fantasia the" two most favourite airs,1 There's truth In woman still,' and ' A young and artless maiden,' In Mr. Howard Glover's pretty operetta; working them, by adding a short introduction, and a brilliant coda in tempo divalsa, luto a masterly and animated pianoforte pieoo, id which the vocal melodies are embellished by a rich and varied accompaniment. Mr. Macfarren's Tarantella is of courso in the time and measure of this Neapolitan daucc, and preserves the rapidity of its breathless whirl. While, however,'ft is thus conventional In its form, it is new and original in its details. There occurs, in particular, In the midst of It, a deliciously soft and flowing melody, played with the left liand, as If an the violoncello or bassoon, with a light and airy accompaniment in the upper part which contrasts beautifully with the Impetuous current of the rest of the movement." —The Press.



Performed with the greatest success at tho Theatre Royal, Drury Lane.

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Brinley Richards' Fantasia, on " Onco too Often" 4 0

Emilo Burger's Fantasia, on " Onco too Ofieu" 3 0

*' FontafnMe3n Quadrille," by Strauss. (Handsomely Illustrated in Colours) 4 0

"La Bvllo fllancho Waltz," ditto 4 0

London: Done AS Davison & Co. 214 Regent Street, W.


THE FOLLOWING COMPOSITIONS (Copyrights), by this eminent Composer, are published by DUNCAN DAY1SON & CO. :—

VOCAL. s. d.

"To thee, dear land, I sing" (a la Patrie), for 2 Tenors. 2 Basses, and Chorus 4 0

(lod save the Queen," 2 Tenors and 2 Masses, with Piano ad lib 3 0

*Ebel/oM's Prayer for Soprano, Alto, Tenor, and Baas, with Or^an ad NL... 3 0

** This house to love is holy." Serenade for 8 Voices (without accompaniment) 4 0

"Aspiration." for Bass, Solo, and Chorus of 3 Sopranos, 2 Tonors, and I Bass '4 0

11 Here on the mountain," with Clarinet obligate 4 0

Violin or Violiticello In lieu of Clarinet, each 4 0

11 Near to theo," with Vlolincello obbligato 4 0

41 The Fishcrmaidcn" 1 0


Royal Wedding March. Composed fur the marring* of the Princess Royal

of Kuidand with Princ3 Frederick William of Prussia ...' 5 0

Ditto, as a dnet .. 10 0

London: Duxcan Davison & Co. 211 Regent Street, W.

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I TU SAVAIS. Romance. Composed par M. W.

Bai.fi. 3l.

BELOVED ONE, NAME THE DAY. Ballad. The Words by John Lamb, Esq. Tho Music by Alfred Mnxox. 2s. ed.

MEMORY. Song. Tho Poetry by Desmond Ryan. The Music by Alexander Rkichardt. 3s.

HAST THOU NO TEAR FOR ME? Ballad. The Word, by M. Dkioh. The Music by Ciro Piksoti. 3s,

SLEEP AND THE PAST. Canzonet. The Poetry by Harriet Power. The Music by J. P. Kkiqht. 3s.

Y GENTLE ELODIE. Romanza. The Poetry by

Mrs. C&twroRD. Tho Music by Edwaiu> Laxd. 3s.

London : Dokcan Datisom and Co.

"The above arc a few of the prettiest vocal pieces that have appeared during the past publishing season. They are all by well-known and popular composers, of whose talents they are agreeable specimens. Balfe's French romance ts In his hap. piest vein. Our countryman has successfully contended with the Parisian composers on their own ground—witness the reception of his fine operas, Les Qualre Fits Aymon and he Puiis <PAmour% at the Opera Comique; and fu the little song before us he shows how entirely he is at home in the French style. It is tender and passionate, with that infusion of graceful lightness and gaiety which gives the French poetry and music of this class their peculiar charm. Signor Gardoni has sung it in punllo with delicious effect; but it by no means requires the aid of such a singer to make It charming. Mr. Alfred Mellon's ballad Is worthy of that able and eminent musician. The melody is simple and natural, without being trite or commonplace; and the whole composition shows that new and striking effects of modulation and harmony may be produced without setting at defiance (as is too often done) the established principles and rules of art.—Few vocal pieces of the present time have obtained greater popularity than Herr Reichardt's song, " Thou art so near," not only in English, but (by means of its German and French versions) all over the Continent. His new production,' Memory,1 is of a similar character, and bids fair to have a similar success. Mr. Desmond Ryan's verses are elegant, and l(elchardt has united them to a melody at onco pure, simple, and expressive. Signor Pinsuti's ballad, 'Hast thoa no tear fur me V has been recommonded to the attention of the public by the pleasing performance of Mr. Tennant, for whom it ws? written, and hy whom it has been sung at many of the best concerts of the season. Signor Pinsuti, an Italian, has produced an air of Italian grace and beauty, while ho has entirely avoided the faults Into which foreign composers so often foil in setting English words to music. The melody not only expresses the sentiment conveyed hy the poetry, but does not present a single misplaced emphasis or accent—a most important requisite in vocal musio. Mr. Knight's canzonet is melodious, flowing, and extremely well fitted for a mezzo-soprano or contralto voice. There is a flaw in one place which dims the clearness of the harmony. In bar s, page 2, G flit in tho melody is accompanied by E natural in the bass, creating a diminished third (or tenth)—an interval very rarely allowed, and not, wc think, in the present case. There is much that is masterly in Mr. Land's romanza, and Mr. Santl^y, for whom it was composed, has sung it with deserved success. We could have wished it had been a little less elaborate; that the flow of the melody had l>een less disturbed by extraneous modulation ; and that the pianoforte accompaniment had been lighter and l>-ss loaded with notes. U is a fine song, nevertheless, and not unworthy of tho author's well-merited reputation."— The Pits*.

Price 12s.


(The Formation and Cultivation of the Voice for Singing).



"Tho great and deserved success of this work has brought it, in no long time, to a second edition, carefully revised, and enriched with a number of additional exercises, which greatly increaso its value."—Illustrated Aeics.

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

Just Published,


O »T


«. i.

No. 1. "Frcyschiitz," dedicated to Miss Catherine M. Pfeil. ... 4 0

2. " Frcyschiit/.," dedicated to Miss Taylor ... ... ... 4 0

3. "Norma," dedicated to Miss Kalheriue Grecnhill ... 4 0

4. "Norma," dedicated to the pupils ».f Miss (Jiloortson ..h 4 0 6. "Obenm," dedicated to Miss Parkes ... ... ... 4 0

6. "Martha," dedicated to Miss Frances Gurney ... ... 4 fl

London: Doitcm Dsvisox & Co. 244 ltegcnt Street, W.


(From our own Reporter.)

Gloucester, Tuesday. The one hundred and thirty ninth meeting of the Three Choirs of Worcester, Hereford, and Gloucester, in this year celebrated at the last named town, the "Caer Gloew," or "bright city" of the ancient Britons, the great military station "Glevum," or "Glebon," of the ttomans under the Emperor Claudius, the "fayre citye" of medieval times. As a rule our old cathedral towns are all more or less interesting, and neither in the historical association nor archaeological attraction is Gloucester at all deficient, having played by no means an unimportant part in the annals of our country. Here it was that Athelstan met his death in 940, the Danes destroying the place some half century later: here Edward the Confessor held his court in 1051, as did also the Norman invader in 1083 and 1804. Parliaments again were frequently held here in the reigns of Richard II. and Henry IV., and the futile attempts of Charles I. to raise the siege of Gloucester undoubtedly struck the most severe blow to the falling fortunes of that ill fated monarch, whose son (due of the most illustrious examples of a negative to the proverb that "experience makes fools wise") marked his sense of the proceeding by commanding the razing of the city walls as one of the earliest deeds of the restoration; but subsequently, in consideration of a money payment of £679 4s. 6d., extended the liberties, rights, and franchises of the city, by the charter under which the Corporation now acts. Unlike most Episcopal cities, Gloucester unites the business with the cathedral element, and although not ranking as a first-clas3 port, yet enjoys a very fair share of the commerce of the west, having a considerable trade in corn and timber, conveyed from the channel by means of a canal of some sixteen miles in length, uninterrupted by a single lock, to the docks, which form no inconsiderable feature in the town. Moreover, Gloucester enjoys the advantage of a central railroad position, the Great Western, Midland and South Wales lines all forming their junction here, this being the point where the great battle of the "break of gauge" met with its most powerful illustration, and had immortality conferred upon it by the pen of Thackeray, whose description of the agony of "James" and "Mary Hann" at the loss of the "babby" on their way to Cheltenham is not likely to be forgotten by the attentive readers of Punch. But, after all, the most interesting spot is the Cathedral, of which, by the way, -there is a most beautiful little model in the International Exhibition, close by the large clock model of Lincoln Minster. The Monastery of St. Peter is said to have been founded by the first Christian King of Mercia, about 680, although, of course, no portion of the original building exists, the oldest parts consisting of the crypt and aisles of the choir, dating from about 1058. There are few ecclesiastical edifices that present so great a variety of styles as this Cathedral Church, as may be well understood from the fact of a period of 400 years being consumed in its erection, under various abbots. Hence it might be concluded that there must necessarily be an incongruity in its parts, and want of harmony as a whole, but such is not the case, for we know of no building that in every sense is more pleasing to the eye at the first glance, or that will bear a detailed inspection more satisfactorily. Architects, it is true, might find technical objections, but, fortunately, we are not all of us architects, and the general opinion is that Gloucester Cathedral may be fairly considered as "a thing of beauty and a joy for ever." ■ To the reflective mind the contemplation of these grand old gothic piles opens up a curious field for speculation. Designed, planned, and executed by the monks, whose ideas on mundane subjects were supposed to be of a most limited, order, at a time when kings could barely read or write, and such a word as education was scarcely known, when the manners of the people were of the rudest, when

the sovereign and his nobles were not as well or as comfortably housed as the ordinary scullion wench of the presentday, when skilled labour must have been scarce, roads of the worst description, and the conveyance of material a matter of the utmost difficulty; yet, in the face of all these obstacles, arose those sublime monuments of inventive art and persevering industry, results of the brainwork of men whose names in most instances are to us unknown, and whose minds must have been as much in advance of their age as the loftiest peak of the Alps exceeds in height the tiniest mole-hill. Curious, too, it is, and by no means flattering to more modern days, to pursue this train of thought a little farther and to reflect that despite this being a so-called age of progress, the "march of intellect," the "giant strides of civilization," electric telegraphs, steam engines, railroads, social science congresses (we might go on multiplying instances), we seem incapable of producing anything original in the shape of a building with the slightest pretension to beauty, either of outline or detail, but are forced to resort to Grecian or Gothic—Gothic or Grecian—for our models? Is a new church erected? Lo, it is "Early English," "Pointed," or some one or other of the varieties that delight the hearts of the Ecclesiological Society. Is it a town hall to be built? Straightway arises a more or less garbled version of one or other of the temples of antiquity, in which was celebrated worship of a very different kind to that which is bowed down to under the title of the worshipful the Mayor and Corporation. Perhaps, after all, it is wiser to console ourselves that it is so, for it may be better to copy a good model than attempt originality with such terrible results as are evidenced at South Kensington, where that monstrous fabric rears, no, depresses its head like some huge railway shed or magnified horse repository, crushed by the incubus of two exaggerated glass umbrellas. But enough of this discursive ramble, and let us turn our attention in the direction of the business which has brought us here, and consider somewhat of the festival prospects.

So far as we can learn at present, everything, with one exception, is couleur de rose; and the year '62 it is expected may be marked with a white stone; or, in other words, be set down as a "surplus" year in the records of the meetings. The exception to which we allude is the recent death of the venerable Dean of Gloucester—an event which necessarily throws somewhat of a shadow of gloom over the proceedings, although not to an extent calculated to injure the success of the festival, as the Dean was a passive rather than an active promoter of its objects. At the last meeting a loss had just taken place of much more import to the festival, by the demise of Mr. Thomas Turner, who, for fifty years, had shown the warmest interest, and, neither in purse nor person, had ever spared his exertions to sustain these pleasant and useful gatherings. It must be borne in mind that the primary object of these triennial music meetings is for the exercise of that virtue which " covercth a multitude of sins;" and that such charity, unfortunately, is just now much amply needed, is but too clearly instanced by the fact that the [present number of applicants consists of more than eighteen orphans and fourteen widows of the clergy; while the necessity of future support is no less strongly shown by the circumstance of there being in 'three dioceses, no less than one hundred and forty-seven benefices having an income below one hundred pounds per annum—a pitiful pittance, indeed, on which a clergyman is to maintain himself, and possibly a wife and family, in a state of respectability, and answer the many calls that are always being made on the country parson. As the proceeds of the sale of tickets is usually more than absorbed by the expenses of the festival, the charity has mainly to depend upon the collections made at the doors, which we are glad to observe have, of late years, been steadily on the increase, as we find that, while in 1841 the sum of £642 was the whole amount subscribed, in

1809 these figures were nearly doubled, little short of £1,150 having been then collected; while at Worcester, the succeeding year, if we remember rightly, no less than £1,300 found its way to the succour of the widows and orphans; the funds of the charity enabling its distributors to average twenty pounds to each widow, and fifteen pounds to each orphan, or the Gloucester festivals, from 1790, we have a pretty accurate record, and find that, of the twenty-four meetings which took place from that year to 1859, only six, or just one-fourth, have shown a surplus; and that the deficit (which is made up by the stewards) in 1832 exhibited £1,400, and in 1841, £1,547 on the wrong side of the balance sheet—such loss in each instance having to be made good by half a dozen stewards. By this time the policy of increasing the number of stewards must have become apparent; for, in 1844 there were eight, which number has gone on augmenting until now we find, at this meeting, no less than fifty-four noblemen and gentlemen coming forward as guarantees, so that in the event of a deficit, the sum divided among so large a number would hardly be appreciably felt. Moreover, there is such an amount of confidence generated, that many are found who are willing to accept the office of steward for each succeeding festival—an additional advantage in the shape of the knowledge and business experience gained year after year, and the continued interest in all that concerns the well-doing of the meetings.

The present list is headed by the High Sheriff of the county, Sir G. S. Jenkinson, Bart., the Earl of Coventry, the Earl of Ellenborough, Lord de Saumarez, Lord Fitzhardinge, Sir Martin Crawley, Sir Lionel Duvell, Sir George Prevost, Sir Wm. Codrington, Sir John Seymour, &c, &c.; and includes the names of many county gentlemen of considerable local influence. Moreover, His Grace the Duke of Beaufort is President, while the LordLieutenants of the three counties, and the Bishops of the three dioceses, officiate as Vice-Presidents of the meeting. Under such auspices, then, it is not surprising to hear that the sale of tickets has been unusually brisk, and that the plan of the reserved seatst both for morning and evening performances, exhibits a goodly array of places marked off as sold; the Messiah day, as usual, carrying off the majority, and the Elijah coming next in order.

Yesterday was devoted to rehearsals, Mendelssohn's Hymn of Praise and Judas M iccabeits being gone through at the cathedral in the morning, wb\e in the evening, at the Shire Hall, Mr. Benedict's Undine, Verdi's Cantata, and Dr. Sterndale Bennett's Exhibition Ode were respectively tried with the band and chorus. The three choirs make no pretension to "monster" gatherings, wisely limiting the total number of the singers and players to three hundred, a force quite sufficient to give full effect to the oratorios, whose power is nowhere be fully felt as in these cathedrals, and more than sufficient for the Shire Hall (where the secular music is given), the orchestral space being largely absorbed by a large and not very handsome organ.

Within the last few years, several important improvements to the cathedral have taken place; the removal of sundry buildings on the north side, planting the grounds, opening a thoroughfare round the east end, the rebuilding of the bishop's palace, and restorations at various points being amongst the most conspicuous of the external features. Nor has the interior been neglected. The massive pillars of the noble Norman nave, which for many years were disguised in thick coats of whitewash, to which time had superadded a no less thick coat of dirt, have been cleansed of their disreputable covering, the stone work redressed, and the whole coming out fresh and distinct as when it first left the mason's chisel. A magnificent window over the western entrance of the building (of which we gave a full description at the time of its erection) serves at once as a memorial to the virtues of the late Bishop Monk, and the

liberality of the Rev. Murray Browne,' at whose expense it was undertaken.

Nearly the whole of the south aisle windows have been filled in with stained glass, and the north side will, in all probability, be similarly treated, the example being set in the first instance by the family of the Rev. Dr. Evans, for many years one of the most enthusiastic supporters of the music meetings, a window to that gentleman's memory being put in the cloisters some seven years since. The most recent addition has been the entire restoration of the east window, at once the largest and one of the most peculiar in England, occupying the entire Space over the altar, there being no wall of any kind, but simply this enormous constructing of glass, with its light and elegant mullions, and graceful tracery, forming one of the most imposing sights imaginable. At B cost of something like £2,000, of which the stone work absorbed more than two-thirds, this vast surface has been presented to us, in as nearly as possible its original state, the glass being fortunately in a wonderfully perfect condition, considering its extreme age and the thick encrustation of ages of dirt. Gloucester deserves no small share of the credit in the matter of these restorations, which are carried on solely out of a special perpetual fund, producing more than £1,000 a year, this sum having been created out of the capitular revenues by the able administration of the treasurer, the Rev. Dr. Jeune, who is also Canon of the Cathedral, and to whom the Gloucestrians are further indebted for most of the exterior improvements already hinted at, and all this performed without their being called upon to subscribe a single shilling, an example not unworthy of imitation in a certain large edifice which looms grandly over the metropolis— to quote the playful and original inuendo, not a hundred miles from St. Paul's.

Like everything else in this world, the festivals have had great opposition to contend with, and at one time a notable evangelical parson, then resident in the neighbouring town of Cheltenham, used regularly to hold forth from the pulpit, denouncing in no measured terms, what he was pleased to consider the desecration of God's house. One grave and not unreasonable objection was the suspension of the regular daily worship, a difficulty which was met by holding full choral service with the united lay clerks every morning at 8 o'clock, a course which the present festival wisely maintains. This morning, however, the proceedings are somewhat different, the service commencing at half-past 10 instead of the earlier hour, and being followed by an oratorio at half-past 1, a proceeding which we cannot think otherwise than an entire mistake, and that our opinion is not an unfounded one, the poor attendance at the Creation has fully exemplified. True, the Cathedral was well filled at the service, to which, of course, there was no charge for admission, although places were kept for those who had taken tickets for the oratorios, but equally true was it that numbers of reserved seats, each representing a loss of fifteen shillings, were entirely empty during the performance of Hadyn's best known work. The prayers were intoned by the Rev. C. Clark, Precentor of tha Cathedral; the first lesson being read by the Bev. Canon Harvey, and the second by the Rev. C. J. Crawley, one of the minor canons. The Lord Bishop of the diocese preached the sermon, taking the text from the 5th chapter of the Revelations, the 11th to the 14th verses :—" And I beheld, and I heard the voice of many angels round about the throne, and the beasts, and the elders: and the number of them was ten thousand times ten thousand, and thousands of thousands ; Saying with a loud voice, Worthy is the Lamb that was slain to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing. And every creature which is in heaven, and on the earth, and under the earth, and such as are in the sea, and all that are in them, heard I saying, Blessing, and honour, and glory, and power be unto Him that sit

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