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Count Hardline (a French Cavalry Officer), Herr Iuiciiihot; Baron Pnmpernlk (a German Nobleman), Herr Formes; Blanche de Mery and Hortense de Caylus (Maids of Honour to the Queen of France), Mile. Jenny Baur and Miss E. Heywood. Scene, Fontainebleau—Period, Louis XV. After which will be produced, with that attention to completeness In every department by which the Christmas Annuals of this Theatre have been so pre-eminently distinguished, the New Grand Comic Pantomime, entitled

Harlequin and the House that Jack Built;
OR, OLD MOTHER HUBBARD AND HER WONDERFUL DOG.

The novel effects and splendid scenery by William Beverley, assisted by Messrs. C. Craven, Stew, Pitt, &c. Masks, symbolic devices, personal appointments, and designs

erture and music composed Tucker and assistants. The , J. L. Blanchard. And the whole arranged and produced under the immediate superintendence of Mr. Robert Koxby.

Doors open at half-pa,t G, to commence at 7 o'clock. Tickets for boxes, pit, and galleries may be had at the box-offlce before the opening.

v ..iyu.i, ui«, rai, ac. ;uasKs, symbolic devices, personal appoi for the costumes by the celebrated Dykwynkyn. The overture and arranged by Mr. J. H. Tully. The machinery by-Mr. Tuckei Grotesque Burlesque Opening invented and written by E. L. 1

THEATRE ROYAL, DRURY LANE,-. Lessee Mr. E. T. SMITH.—Continued triumph and unparalleled success of the Grand

Christmas Pantomime In consequence of the continual overflows to all parts of this

national theatre, the following arrangements will be carried outIni addition to the nightly representations of the Pantomime, there will bean EXTRA GRAND MORNING PERFORMANCE To-day (Saturday), Jan. 55, for the accommodation of fa inilles residing at a distance, the several Rifle Corps, and those whose only holiday occurs on Saturday. On this occasion the boys of the Duke of York's School will attend. There will also be a Morning Performance on Wednesday next, the 29th inst" and in consequence of nearly the whole number of principal seats, stalls,and boxes being already secured for those days, a grand extra and final Morning Performance will take place on Saturday, February I, which will positively be the last opportunity of witnessing the Pantomime In the morning. For these occasions early application for places is absolutely necessary. Parties at a distance may secure seats, sc., by letters addressed to Mr. Nugent, box-office. Theatre Royal, Drury Lane, and containing post-office orders. Children admitted at half-price at the opening of thedoors. Secured seats full price.

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QEVENTY - SECOND CONCERT, on MONDAY

JO Evening, January 27, 1862, the Programme selected from the works of various Comiosers.

Pianist—Ma. Charles Hal.i.1'.' First Time of Iiummel's Celebrated Septet. PROGRAMME.

Part I.—Quartet, in E flat, Op. 12, for two Violins, Viola and Violoncello (Mendelssohn), MM. L. ItlES, Watson, H. Wedb and Paq.uk. Song, " The Quail" (Beethoven), Mr. Tennant. Sonata, In C sharp major, Op. 27, No. 1, " The Moonlight" (Beethoven), Mr. Charles Halle.

Part II. Grand Septet, in D minor, for Pianoforte, Flute, Oboe, French Horn,

Viola, Violoncello and Contrabasso (Hummel), (firs: time at the Monday Popular Concerts), MM. Charles Haijle, Peatten, Barrett, C. Harper, H. Webb, Faque and C. Severn. Song, "The Evening Song" (Blumcnthal). Mr. Tennant. Quartet, in B flat, No. 67, for, two Violins, Viola, and Violoncello (Haydn), MM. L. Rue, Watson, H. Webb and Paq.uk (first time at the Monday Popular Concerts).

Conductor, Mr. Benedict. To commence at eight o'clock precisely. Notice.—It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption.

Between the last vocal piece and the Quartet, an interval of Five Minutes will be allowed. The concert will tinish not later than half-past ten o'clock.

Stalls, 5 balcony, 3s.; At'mission, Is.

Tickets to be had of Mr. Austin, at the Hall, 28 Piccadilly; CHArrxu and Co., 50 New Bond Street, and of the principal Musicssllcri.

TO CORRESPONDENTS.

S. B Deinde post multos reges per ordinem successionis regnum descendit

ad Astyagen. Hie viditper sumnum vitem enatam ex naturalibus, quam habebat unicorn, palmite cujus omnis Asia obumbrarttur. Insinuate the word "Felix" in the most convenient place, and the passage will be intelligible enough, though less obscure.

Tuerese.—Enquire at Chappell's, 50 New Bond Street.

A Tourbridge Subscrlbek.First—in about a fortnight. Second— try Schindlcr.

NOTICES.

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.

^ f Two lines and under 2s. Gd.

g tnrts ^ Evay additional 10 words Gd.

To Publishers And Composers.All Music for Review in The Musical World must Jienceforward 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.

% glusrcal moth.

LONDON: SATURDAY, JANUARY 25, 1862.

THE Volunteers have lately figured somewhat conspicuously in the Concert Room, not through themselves, but by aid of singers and instrumental performers. Each separate corps has a band; this band is in a great measure composed of mechanics ; mechanics are poor ; poverty cannot afford to procure such expensive musical accoutrements as clarinets, horns, trombones and drums; and so an appeal is made to the public through a concert, supported by artists who either tender their services gratis or lower their charges. If the entertainment be a good one, it pays, and the band are benefited; if it be indifferent, there is no gain, and the musicians will have to put up for a while with their cracked instruments, and be satisfied, for the nonce, with the music in their possession. Concerts by various Rifle Corps have been given in different parts of the metropolis, and all have been hugely patronised. We have attended most of these entertainments, and have been struck with the little interest they excited. Even when some of the most eminent vocalists and instrumentalists of the day officiated, there* was invariably the absence of that explosive enthusiasm one might naturally expect from an audience to a great extent composed of partisans, and those partisans mostly ardent warriors, or "militarians," if you would like the term better. To account for this lack of fervidness and exciteability is not very difficult. The programme in no one instance we allude to had been made to conciliate the really warlike, or simulated warlike, feelings of the Volunteers. Each singer, or player, was allowed, requested rather, to select his own piece; and as he chose what he thought he could accomplish best, it was the merest chance if any one item in the selection was appropriate to the occasion. The Volunteers, burning with glory, impatient for the field, and by no means overflowing with musical sensibility, were called upon to listen to instrumentalists executing tender sonatas in A, peaceful duos and trios in B, and profound somnorific quartets in C; while the vocalists endeavoured to awaken their sympathies by every means but the right one, and never contemplated they were addressing a gallant band of heroes, ready at a moment's notice to try extremities with Louis Napoleon, the Czar of Russia, or President Lincoln. What cared they for moonlight roamings, cupidian effervescences, and those verdant pastures of the memory upon which song-writers so frequently feed? Their souls were athirst for the roaring of the lion and the tiger, not for the cooing of the dove, or the bleating of the lamb. "Was it dulness on the part of the singers and players, or were they unable, in the intensity of their vanity, to see beyond the shadow of their own delectable persons. We have two honourable exceptions to make? Herr Formes, at a Volunteer Concert, given in the Bayswater Athenaeum this week, introduced the air "Non piu andrai" from Figaro — a highly appropriate song; and Mr. Weiss at the Beaumont Institution delivered himself of a fiery battle-piece, the name of which has escaped us.

For the behoof of future propounders of Volunteer Concerts, we herewith furnish a model programme which we recommend strongly to their consideration, feeling assured that a new impetus will be thereby given to those very worthy and excellent entertainments, by which not only will the deserving be benefited, but art advanced. Were we ourselves a Rifle Corps, and about to draw up a programme of a concert to be given in aid of our band, we should, without the least hesitation, provide something after the following :—

Part L

Battle Symphony, by the Royal Italian Opera Band . . Beethoven,

Song, "he was famed for deeds of arms," Mr. Wilbye

Cooper ..... Shield.

Sonata, "The Battle of Prague," Miss Arabella Goddard. Kotzwara.

Duet, "Saoni la tromba," M. Faure and Mr. Weiss . Bellini.

Chorus, "See the conquering Hero comes " {Judas Maccabeus), by the members of the Sacred Harmonic Society . . . Handel.

Air, "The Soldier tired," Mlle. Titiens . . Arne.

Scena, "Sorgete" (Maomelto), Sig. Belletti • . Rossini.

Duet, "The Lord is a Man of War" (Israel in Egypt*),

Messrs. Santley and Thomas . . Handel.

Song, "Non piu andrai (Figaro), Signor Ronconi . Mozart.

Chorus, "Rataplan, rataplan" (Huguenots), Henry Leslie's Choir ..... Meyerbeer.

Air, "Suirez-moi" (Guillaume Tell), Signor Tamberlik. Rossini.

Song, "Altho' I am but a very little lad," Mllo. Adelina

Patti ..... Silver.

Patriotic Song, *' England and Victory," Signor Mario . F. Mori.

Instrumental, War March (Athalia) . . . Mendelssohn.

Part II.

"Oath of Liberty" (Guillaume Tell), by the Sacred Harmonic Society, the National Choral Society, Mr. Henry Leslie's Choir, Vocal Association, the Glee and Madrigal Society, assisted by the Principals.

Ballad, "Let me like a Soldier fall," Signor Giuglini . Wallace.

Song, •' The Minstrel Boy," Mile. Parepa . . Moore.

Air, "Sound an alarm," Mr. Sims Reeves . . Handel.

Song, "The Soldier's Joy," * Miss Clari Fraser . Niel Goto.

Song, "The wounded Hussar," Miss Susanna Cole . Campbell.

Glee, "Hark !. 'tis tho Indian drum," Glee and

Madrigal Union .... Bishop.

Song, "The Young Recruit," Mad. Lemmens-Sher

rington ..... Kucken.

War Chorus, "Guerra, Guerra" (Norma), Vocal Association ..... Bellini.

War Song, "Piff, paff" (Huguenots), Herr Formes . Meyerbeer.

• Which it is not a song but a country-dance.—Printer's Devil.

Ballad, "As they marched through the town," Mad.

Sainton-Dolby .... Jackson.

Song, with chorus, "Rataplan" (Figliu), Mile. Florenco

Lancia ..... Donizetti.

Air, "Oh, 'tis a glorious sight to see" (Oberon),

Signor Mongini .... Weber.

Overture, "Siege of Corinth," by the Band of the Royal
Italian Opera, assisted by the Bands of the
Life Guards, Horse Guards, Grenadier Guards,
and Scots Fusilier Guards . . . Rossini.

This is our model Volunteer programme, which, if any Rifle Corps — say the 125 th Diddlesex Rapids, or the Double-Barrel Roinney Fencibles— should proceed to organise, or something after a similar scale and plan, at St. James's or Exeter Hall, procuring, be it understood, the gratuitous services of all the artists engaged, we beg to state we shall have no objection to undertake the risk, and go share in the profits.

« ■!

WHILE Jean Louis Dussek is honored in accordance with his great deserts, it has been remarked, and not, we think, quite unreasonably, that Daniel Steibelt, one of his most celebrated contemporaries, if his inferior in genius, has been rather snubbed at the Monday Popular Concerts. His name has only appeared once in the programmes—when in the early winter of last year Miss Arabella Goddard performed his sonata (in E flat), dedicated to Mad. Bonaparte. It should, in upwards of seventy programmes, have appeared oftener.

Steibelt was born at Berlin, in 1775. His father was a well-known manufacturer of pianos. Steibelt's musical talents were developed at an early age, and good fortune introduced him to the notice of William the Third of Prussia, under whose patronage he was enabled to pursue his studies in playing and composition. He afterwards travelled abroad, and resided during fifteen years alternately in London and Paris. During Steibelt's residence in Paris, it is said that he gave considerable offence to his fellow-artists, by assuming an air of hauteur incompatible with the modesty of a professor. He affected to despise his mother tongue, and preferred speaking bad French to good German. In 1799, he returned to Germany, and afterwards went to Russia, where he had the honour of being nominated, by the Emperor Alexander, to the office of chapel-master. He died at St. Petersburg, the 20th of September, 1823, after a painful and protracted illness. Due respect was shown to his memory by the united efforts of his brother artists, assisted by a great number of amateurs, who performed a solemn dirge to his honour.

Steibelt was not less esteemed as an admirable player, than as a pleasing composer. His strength as a pianist lay chiefly in works of the bravura kind, which he executed with precision, power, and effect, united to singular grace and delicacy of manner. His compositions for the pianoforte, particularly those of the middle part of his life, had numerous admirers both in Germany and in England; but, still more, particularly in France. This may easily be accounted for from the character of his music, which is full of gaiety, animation, and spirit, easy to understand and generally not very difficult to play. Among those pieces of Steibelt which are less ephemeral, less the offspring of the immediate fashion of the day, and more remarkable for richness and originality of invention, are his Studies (in two books), his two concertos for pianoforte and orchestra, in E and E flat (generally known as The Storm and La Chasse, from the peculiar character of their last. movements), his sonatas for pianoforte and violin, of which the one in E minor is the best, and some of his sonatas for piunoforte alone, particularly that dedicated to Madame Bonaparte, and another grand sonata in the same key (Op. 60, dedicated to the Duchess of Courland—a favourite pupil of Dussek's), which will be admired so long as the pianoforte music of his age shall be esteemed.

Steibelt produced some operas, which appear never to have circulated beyond the cities for which they were composed. The last of his compositions of this kind was The Judgment of Midas, which he left to his son in an unfinished state, and which, unfortunately, was the only thing he had to leave, for Steibelt, like many other men of genius, was apt to pay but little regard to economy and the mere conventional things of this world. His embarrassed circumstances had no small effect upon the vigour and elasticity of his mind. In consideration of the merits of the father, however, Count Milioradowitsch, of St. Petersburg, projected a grand concert for the benefit of his successor, which realised a considerable sum. Steibelt occupied the latter days of his life in re-considering his opera of Romeo and Juliet, the score of which he, on his dying bed, dedicated to the then King of Prussia, out of a feeling of gratitude for the patronage and favours he had received from the father of that monarch. His Cinderella and Judgment of Midas were written for the Imperial French Theatre of St. Petersburg, where they were performed with considerable applause. These works are little known. But that Steibelt considered Romeo and Juliet his master-piece, may be fairly inferred from the cir-' cumstance of his devoting so much time to re-modelling it.

Of Steibelt it may be truly said, that if he neither opened any new paths in science, nor widened its boundaries, at least he did much for the cultivation and improvement of that which was already kno'.vn. He helped largely to advance the interests of music, by increasing the number of amateurs through the medium of his instructions, and also through that of his compositions, many of which still continue, deservedly, among the most esteemed pianoforte works that have outlived the age of their production. It is to Steibelt that the Parisians were indebted for their first introduction to Haydn's oratorio of The Creation. The critics of the period were of opinion that the work abounded with excellent points, but upon the whole was "heavy and tedious." Have the Parisians materially changed since then? Do they know much more, or care to know much more, of The Creation now? We apprehend not.

Royal Academy Of Music. — The first competition for the "Westmoreland Scholarship" examination took place at the institution on Saturday last. The following Professors comprised the Board of Examiners: Mr. Charles Lucas (Chairman), Mr. J. Goss, Mr. G. A. Macfarren, Signor M. Garcia, Mr. II. Blagrovc, Mr. F. R. Cox, and Mr. Walter Macfarren. Six young ladies (vocalists) were examined. The candidate elected was Miss E. Robertine Henderson. Miss Cecilia Westbrook was specially commended for the talent evinced by her at her examination.

National Chobal Society.—'lhe performance of Haydn's Creation on Wednesday night was a decided improvement on the Messiah. The choruses in Haydn's oratorio, it must be owned, are simplicities compared with those in Handel's masterpiece. Nevertheless, that they require good singing to give them effect no one will dispute, while in a few instances the most experienced choristers are taxed to the utmost. Therefore, we are inclined to think that the members of the National Choral Society not only found Haydn's music more easy than Handel's, but studied it with greater earnestness and purpose. The execution was indeed thoroughly good, and on this occasion, at all events, all the

members appeared to sing. The event of the performance, however, was the first appearance in the sacred concert-room of Mile. Florence Lancia, lhis young lady had created so decided a sensation at St. James's Hall and other places where she had been singing for the last few months, that no small interest attached to her coming out at Exeter Hall in an entirely new line of performance. That Mile. Lancia possessed dramatic talent of a fine order had been proved, but sacred music and operatic music require very different orders of capacity and intellect; and we have had Grisi and Clara Novello as examples to show that the highest success in one line does not necessarily imply success at all in the other. We may state at once that Mile. Lancia's success la6t night was eminent, and surprised even ourselves, who always anticipated great things from her. The effect produced by the two great songs, "With verdure clad" and "On mighty wings," was not to be mistaken. The audience applauded tumultuously in both instances, and did not desist in either until the artist rose and bowed her acknowledgments. Mile. Lancia has every qualification to render her a great acquisition to the sacred concert-room. Her voice is of fine quality, always perfectly in tune, is exceedingly flexible, and has an unusual range in the upper register. Moreover, a beautiful, even flute-like shake—so indispensable in oratorio singing—is a special recommendation. With all these natural advantages Mile. Lancia has apparently at command every variety of feeling, with unusual intensity of expression. Her singing of "With verdure clad" was a little marred at starting by tremulous ncss, but it was only for a moment, and the feeling was soon conquered. Beautiful as the performance was, it was surpassed by "On mighty wings," which was perfect throughout, and not only gratified the ear in every note, but touched the heart and raised enthusiasm as well. Having so triumphantly begun, it is not to be doubted but that the young and talented artist will prosecute the new career which has opened so brightly for her. The other singers were Mr. George Perren and Mr. Lewis Thomas, both of whom sang with their usual excellence, and obtained no small share of applause.

Westbourne Hall, Bayswateb.—The last of a series of six subscription concerts given at the above hall, by Mr. William Carter, local professor of the pianoforte and singing, and organist of St. Stephens, came off on Wednesday night in presence of a fashionable, if not a very numerous, audience. These concerts have been given ostensibly for the purpose of making known to the Bayswater amateurs the pianoforte works, solo and in combination, of the great masters. Mr. Carter, an excellent pianist and thorough musician, has had for his co-operators, at different times, M. Yieuxtemps, the Messrs. Booth, Signor Piatti, M. Paque, and others, and has presented to his subscribers some of the finest chamber compositions of Mozart, Beethoven, and Mendelssohn. The introduction of these masterpieces to so remote a public appeared to create an unmistakeable impression, which we infer from the fact that the concerts increased in attraction as they proceeded. The performance of lighter works of the fantasia school was a conciliation to the neighbourhood and a necessity. In the vocal department Mr. Carter seems to have been studious to secure the best available talent, as the names of Mesdames Parepa, Lemmens-Sherringtpn, Florence Lancia, Sainton-Dolby, Laura Baxter, Weiss, Heir Formes, Messrs. Wilbye Cooper, Tcnnant, George Perren, &c, would testify. At the last concert of the ■ series, the classic pieces were Beethoven's quartet in E flat, for violin, viola( and violoncello, executed by Messrs. William Carter, Joseph Heine, Weslake, and Ferdinand Booth; and the same composer's grand trio in D, op. 60, for pianoforte, violin, and violoncello, both of which were finely played and with corresponding effect. Mr. Carter chose for his solo displays SchulholT's "Morceau Caracteristique," and Thalberg's fantasia on Don Giovanni, in which his facile execution, powerful tone, and firm touch were manifested. The vocalists were Mesdames LemmensSherrington and Laura Baxter, Mr. Tcnnant and Herr Formes, of whose performances, as nothing new was given, nothing need be said. The finest singing of the night was that of Herr Formes in the song from Figaro, "Non piu andrai," and the air, "AVer eiu liebchen gefunden hat." Mozart's music appears to suit the great basso better than that of any other composer.

Monday Popular Concerts.—(From an occasional Correspondent.} — One of the best of the season was given on Monday last, notwithstanding the absence of Miss Arabella Goddard, who is naturally and deservedly the chief attraction of every programme where her name appears. Her place was filled by Mr. Lindsay Slopcr, one of our most zealous and earnest professors of the art of music, and, moreover, a gentleman whose neat, careful and skilfnl execution entitle him to a more frequent hearing at concerts where M. Nom de Guerre, of Paris, has, actually been selected to misrepresent one of Beethoven's later sonatas, and where Herr Ernst Bremen has played his version of the Sonata Appassionato of the same composer. The manner of Mr. Slopcr is free from affectation and trickery, his mechanism provokingly faultless, his reading beyond impeachment. In the sonata of Weber, for pianoforte alone (in C major, Op. 24), his playing was exhibited to admiration. The adagio (? F major) is a pure melody, enriched with the happiest and most original harmonic treatment. The rondo finale, a moto continuo, of great beauty of effect and value as a study, is the most favourable example we know of Weber's admirable genius as a pianoforte writer. In the sonata for pianoforte and clarionet, the other work in which Mr. Slopcr appeared (in E flat, Op. 48), the pianist had the cooperation of Mr. Lazarus, whose name is to the musical public a guarantee for prodigious executive ability and artistic genius of the highest order. Mr. Lazarus also played, with M. Sainton and the other members of the quartet, in the clarinet quintet of Mozart in A, a work frequently performed at the Monday Popular Concerts, and which from its freshness, graceful ease, and simplicity, will never be heard without delight and exhilaration.

It is a matter of no small moment to the London musical public, that the quartets at the Monday Popular Concerts should be led by a musician of experience in chamber music, of eminent executive talent, and whose conscientious regard for the master he illustrates will ensure his sinking all personal vanity and egotism, if he have any. Keeping these things in mind, the engagement of M. Sainton will afford a pleasure to all lovers of music. The rich and solid tone of the very deservedly eminent Frenchman is more especially valuable in so large a room as St. James's Hall, and the wonderful case and dash of his execution is as rare as it is welcome. The 26th quartets of Haydn, for the first time at these concerts, was played to a marvel. We have have much to say on this work, but as the quartet is sure to be repeated, may defer it for the present. The adagio in B flat (the quartet is in F) was expressed a ravir, and the curiously Mozartish thema sopra una corda, no less effectively played by M. Sainton, who was supported by Mr. Ries, an excellent and useful second, Mr. Webb, one of the best viola players we have, and Signor Pczze, a clever violoncellist (his first appearance at these concerts).

The vocal music was divided between Miss Banks and Mr. De la Have. The lady, a pure soprano be it known, gave an air from Gluck's P rmida with the faultless time and skilful phrasing which with other excellences characterise her singing. The charming song, "Why do we love ?" of Mr. G. Macfarrcn, was her other production. Mr. De la Haye has a voice which has hollowness in place of sonority, and is not otherwise of sufficient attractiveness to counterbalance the unpleasant effect produced by his unsatisfactory and uneasy manner of ■inging. These truths were wonderfully proved in "O cara immagine" of Mozart, and " La Promessa " of Rossini. N.

Monday Popular Concerts.—Last night's concert, devoted to the works of " various masters," demands a brief record, not merely on account of the general excellence of the performance,—with M. Sainton, as first violin, in one of Haydn's least known quartets (first time), and Mr. Lazarus as clarionet, in Weber's grand duet in E Bat, for pianoforte and clarionet,—but also on account of the unexpected appearance of our excellent English pianist, Mr. Lindsay Sloper. Mr. Sloper, as all our musical readers are aware, is one of the most finished executants of the day, besides being thoroughly familiar with the "classical" repertory; but the distinction he earned on the present occasion was all the more honourable from the very short notice afforded him that his services would be in request. Owing to the sudden indisposition of the pianist who had been advertised for the sonata with Mr. Lazarus, itself a composition of no ordinary difficulty, and for the far more difficult solo-sonata in C major (terminating with the famous presto, known as the moto perpetual, it was indispensable either to change the programme, postpone the concert, or supply a deputy. It is hardly too much to say that not one player out cf a hundred foreign or English would have undertaken without preparation to perform these two sonatas before a vast and well-instructed audience; and it speaks volumes both for the advanced cultivation of our native professors

generally, and for the artistic acquirements of Mr. Sloper in particular, that such a task should hot merely have been readily accepted, but triumphantly accomplished. At the conclusion of the solo-sonata Mr. Sloper—as he well deserved to be—was unanimously recalled. The vocalists were Miss Hanks, who was en» cored in "Ah, why do we love?" (from Macfarren's Don Quixote), and Mr. De la Haye. The last piece in the programme was Mozart's beautiful quintet (in A), for clarionet and wind instruments, which has become an established favourite at St. James's Hall. At the next concert we are promised Beethoven's so-called Moonlight Sonata, by Mr. Halle —and, for the first time, Hummel's justly renowned septet, for pianoforte, with wind and stringed instruments.—Times.

DRU RY-L A^*THEATRE. A Very agreeable "lever de rideau," in the shape of a one-act comic operetta, from the pen of Mr. Howard Glover, preceded the pantomime on Monday night, and was received with unanimous favour by a crowded house. The French vaudeville from which Mr. Glover (again, as in the instance of Buy Bras, his own librettist) has derived Once Too Often, is familiar to theatrical amateurs under its original title of Mademoiselle de Merange. and also, if we remember rightly, through the medium of an English version, produced under the superintendence of Mr. Charles Mathews. The dramatis persona comprise four characters, and the scene takes place at Fontainebleau, at the period (as the costumes would suffice to indicate) of Louis XV. Count Marcillac, a sort of harmless cross between Don Giovanni and the Comte Ory, and by no means innately so unprincipled as either, after innumerable victories over the fairer sex, is resolved to try a stratagem upon Blanche de Mery, one of the most beautiful and respected ladies of the Court, and maid of honour to the Queen. It is not his intention to seduce her, but merely by force of his irresistible attractions to inveigle her into a sham marriage, and, with the assistance of his intimate friend the Baron Pompernik—a Bavarian, who has deserted his own wife, and readily consents, by assuming the garb of a priest, to promote the designs of his unscrupulous companion—he hopes to win a large bet which hangs upon the successful issue of the adventure. Blanche de Mery, however, has an attached associate in Hortense de Caylus (another maid of honour), who, it appears, has herself been formerly tricked in some such manner by Marcillac, and, overhearing his treacherous professions to her young friend, determines to thwart him. Accordingly, after having secretly apprised the Queen, she confronts Pompernik in his disguise, and, while feigning to solicit his benediction, so excites him by her fascinations that the mock priest, forgetful of his assumed avocation, makes desperate love to her. By this expedient time is gained. Pompernik fails to keep his appointment, and the Queen, entering into the plot, attends the marriage in person, as a mark of distinction to her favourite maid of honour, bringing her own private chaplain to perform the ceremony, which thus, to the consternation of our libertine, takes place in good earnest. Marcillnc, outwitted, resolves upon a final interview with his young wife, subsequent to which he contemplates abandoning her and retiring to his country estate. As in the case of Hortense and Pompernik, how. ever, the lady has the best of it; and her intended deceiver, vanquished by her charms, throws himself at her feet and vows effectual reformation. Even Pompernik, upon whom now Hortense turns the tables, is induced to " take the pledge " of constancy, and promises to rejoin his neglected wife forthwith.

Mr. Glover has set this little drama, which is as amusing as it is improbable, in such a manner as to augment its liveliness and enhance its dramatic interest, Almost every piece in the score— which we may premise is without either overture or chorus—is in its way more or less attractive. The duet upon which the curtain rises (for the two maids of honour) is fluent and pretty, and contains a capital solo (" Oh glorious age of chivalry o, through which Blanche gives expression to those romantic sentiments that somewhat later are on the point of leading her into palpable mischief. Equally effective, in the buffo style, is that between Marcillac and Pompernik, where the young profligate persuades his Bavarian friend to aid him in his schemes against Blanche. This, the pseudograndiose air for the Baron that succeeds it (" In my chateau of Pompernik"), and the duettino in which they get up a pretended duel, in order to enlist the sympathies of Blanche, on behalf of whose perfections Marcillac pretends to be fighting, strengthen the conviction warranted by some passages of his Aminta, and others in his Iluy Bias, that-Mr. Glover is decidedly endowed with the vis comica. On the other hand, in the duet for Blanche and her pretended adorer, which includes a charming romance for Marcillac,—" A young and artless maiden ;" in the expressive solo for Hortense —" Love is a gentle thingin the ballad for Blanche —"The love you've slighted still is true;" and in that for Marcillac—"There's truth in woman still,"—no less emphatic proof is offered of that gift of melody which is one of the most enviable possessions of a composer, whether for the theatre or for the ehamer, whether of vocal or of instrumental music. There are further things worth notice in the operetta, and, among the rest, a song for 1 'ompernik, who, disguised as a priest, celebrates the convivial qualities of the monks of old ("In times gone by the monks were jolly"), which, besides its happy orchestral colouring, is a racy imitation, in so far as melody and harmony are concerned, of the mediaeval English style—always telling, as frequent examples have declared, on the operatic stage. On the whole, the music of Once Too Often will add to the reputation of its composer.

The performance—allowing for a little " dragging," which may be remedied without much difficulty—was efficient in almost every respect. Mile. Jenny Bauer (who may be remembered as the original representative of Catarina, when the earliest version of Meyerbeer s Etoile du Nord was produced in this country) made an elegant Blanche, and sang her ballad, "The love you've slighted," with such feeling that she obtained a hearty encore. A more comely and sprightly maid of honour than Miss Emma Heywood, who gave Hortense's only air (" Love is a gentle thing") with true expression, and who is gifted with a contralto voice of genuine quality, could hardly have been desired. The gentlemen were Herr Reichardt and Herr Formes, who, considering that they are foreigners, were not only remarkably easy, but remarkably distinct in their pronunciation of the English language, and who acted, each in his different sphere, with equal spirit and intelligence. Herr Formes raised shouts of laughter in the scene where Fompernik, half intoxicated, is clad in "canonical," and delivered his two airs, the last especially (treating of the "monks of old"), with extreme unction, while Herr Reichardt infused such warmth of sentiment into the romance, "A young and artless maiden,"—a thoroughly refined and graceful specimen of ballad-singing,—that he was compelled by the general wish of the audience ro repeat it.

Although the "grand Christmas pantomime" was to follow, and the theatre (as we have hinted) was crowded in every part, the operetta was listened to throughout with decorous attention by the occupants of the galleries no less than by the rest of the audience, and all the performers were called before the footlights at the end. Equally well placed would have been a similar compliment in favour of Mr. J. H. Tally for the zeal and ability he exhibited in conducting the performance. Once Too Often has been repeated every evening since — not "once too often,"' and will be played every evening next week — not "once too often."

MUSIC AT BOST^"(MASSACHUSETTS). The zeal of the Handel and Haydn Society was well met by the great 'crowd of attentive listeners that filled every seat in the Music Hall last Sunday evening, to listen to the Christmas performance of the Messiah. But for the undeniable fact that the poor old Music Hall has got to looking very shabby—its delicate sunset-tinted walls and ceiling being about as badly smoked and smutched as Michael Angelo's Last Judgment in the Sistine chapel—it would have seemed quite like the good old times of half a dozen years ago, when music, to say the least, was far more thought about than war, and civilisation was of more account than "cotton." But so soon as the times allow a safe and peaceful passage of our great organ over here, which is already finished, its putting up will be a signal for the renovating of those walls, whose blackened aspect now is in keeping with such black and troubled times. The chorus seats were not quite as full, we thought, as in some oratorio occasions of past years; but this was the result of the good rule, which excludes "dummies" and does not allow any to "assist" in public, who have not borne their part in the rehearsals. There was a goodly number, though, and uncommonly well balanced; and perhaps as prompt, true and effective a mass of voices, as the Society has let us hear since our Handel Festival. The arrangement of the forces on the stage was better than it has often been, the orchestra being placed more in the middle of the singers and

in part surrounded by them. It will, we are glad to hear, be still further improved, by ranging the soprani in the front line across the stage, the contralti behind them, and so on, with the first and second violins, tenors, violoncellos, &c, in line with the voices to which they severally correspond, throwing the wind instruments quite behind all. Thus each class of voices will feel the support of its corresponding part in the accompaniment. This is far better than our old way of placing the orchestra before the singers, obliging them to shout to their audience over a solid wall of instrumental tone. In Berlin, Leipzig, &c, the entire orchestra is placed behind the singers. The orchestra was larger and better than we had dared to hope in these times, when the war makes such draughts upon our musicians. We were reduced, to be sure, to one fagotto, and that of a somewhat uncertain sound; but this could not be said of the trumpet, which sang out admirably in its obbligato accompaniment to the air: "The trumpet shall sound;" and there was a most efficient row of first violins, including Schultzc, Eichberg, Suck, and others. The rehearsals had been thorough, and the whole thing went generally well, although there is much room for improvement; our chorus singers, impatient of that "old world" drill, which cultivates a sensitive ear to what at first seem smallest blemishes, are naturally too apt to think that they have mastered that with which they have only become familiar. Familiarity is not always knowledge.

One mark of conscientious thoroughness, one not too common here in times past, is certainly to be commended in this getting up of the Messiah. Not a chorus was omitted; not a concerted piece; nothing, in fact, but a piece or two of solo, which is a less important sacrifice to brevity and good hours. This time we heard not only " Hallelujah," " Unto us a child is born," and the other popular and stirring choruses, but also such profoundly beautiful and tender ones as "And with his stripes," the mystical quartet and chorus, "Since by man came death, " and the exquisite duet, "O death, where is thy sting? " (soprano and tenor):— pieces in which Handel betrays a certain affinity for the time being with Bach ; pieces, which one grows to love, as one's experience of life grows deeper and more serious. Those, too, were among tho best rendered pieces of the evening. The great choruses were quite successful, especially the " Hallelujah;" and wo were glad that Mr. Conductor Zerrabn did not in, " Unto us," resort to Costa's cheap expedient for effect at Birmingham, of contrasting whispered pianissimos with sudden stunning outbursts on the great words.

In the soprano arias Mrs. Long was uncommonly happy. In voice, in style, in feeling, her efforts of that night were among her very best; there was sweetness, purity and dignity in all; and she will be much missed in oratorio hereafter, if she adheres to her resolution of retiring from the stage. The airs, "Come unto Him," "But thou didst not leave," and "How beautiful." were sung by Miss Gilson, a fresh young voice, of silvery sweetness and purity, and with an execution that promises well, albeit a little cold. The celebrated English tenor, Mr. Gustavus Geary, does not lack voice, robust and rich and resonant, but he does lack naturalness in his over-refined struggles for expression,— which is peculiarly unfortunate in so pathetic a recitative and air as "Thy rebuke," &C., whose beauty and pathos are nothing, worse than nothing, save as they are simple and unaffected. The bass, Mr. Thomas, executed his pieces well, with a voice of manly substance, although somewhat hard and dry in quality. Mrs. Kcmpton appeared to labour under a cold; her upper notes were feeble, husky and tremulous, but her deep contralto as rich and warm as ever. In spite of these drawbacks, there was much true style and pathos in her singing, especially of 'He was despised."

The new yearjtarts with fair promise; for the week to come we are to have two good things at least. 1. Wednesday evening, the third Chamber Concert of the Mendelssohn Quintet Club; when that wonderful quartet in Bflat, of Beethoven's last period, will be repeated, to the great joy, no doubt, of many who enjoyed it before better than they understood it. The programme also contains a quintet, with contrabasso, by Onslow, a duo concertante by Spohr, and two vocal pieces; one from a Psalm by Mendelssohn, the other, Mozart's "Dove sono," to be sung by Miss Pearson.

2. Carl Zcrrahn's first of four Philharmonic Concerts is definitely announced for next Saturday evening (Jan. 11), at the Boston Music Hall. The orchestra includes all the best resident musicians. The programme offers, first of all, Beethoven's "Pastoral Symphony," which will be soothing and refreshing in these wintry war times. The Tannhaiiser overture is not yet voted dangerous to healthy nerves, and if any should be seriously disturbed by it in their sweet dreams of the Past, they will surely find relief in the finale (orchestral arrangement) of the first act of Don Giovanni. For further variety, Miss Mary Day, tho brilliant young pianist, will play Mendelssohn's Capriccio in B, with orchestral accompaniment, and Thalberg's introduction and variations to the barcarole in L'Elisirc d'Amore.Dwight's Journal of Music.

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