teth upon the throne, and unto the Lamb for ever. And the four beasts said, Amen. And the four and twenty elders fell down and worshipped Him that liveth for ever." We have purposely given this text in extenso, as some of our readers might possibly be able to discover its relation to or bearing upon the charitable purpose for which the meetings are held. Whether any of the bishop's hearers could at all see the connection between the text and a sermon which alternately deplored the war in America, the distress in Lancashire, the prevalence of lust, and the crime of drunkenness, and finished without even a single allusion to the object which had drawn them together, is another thing, but to us the prelatic eloquence appeared to be wasted on an entirely different subject. The musical portion of the service included (of course) the inevitable Tallis, the well worn Croft, in a Te Deum and Jubilate, and the no less used anthem of Croft, "This is the day." In addition to the three Cathedral choirs, the lay clerks of Bristol, Salisbury, Winchester, Wells, &c, assisted, thus forming a choral body which, including nineteen trebles, twelve altos, eleven tenors, and fourteen basses, numbered fifty-six in all, and formed an imposing array in front of the orchestra. The mayor and corporation, preceded by the ■word and mace bearers, attended in their robes, and, as we have already said, the church was very full, and one of the inconveniences of this "double" arrangement being that the crowd pouring out of the building was considerably impeded by numbers no less anxious to obtain admission for the oratorio, which was to commence little more than half an hour afterwards. Of the general performance of the Creation we can speak in favourable terms, band and chorus being quite au fait at their work, as might be expected from its thorough familiarity to all concerned. In the first and second parts Mdlle. Titiens sang the soprano music, her clear and powerful voice producing a remarkable effect, although . . applause, as a matter of course, is unthought of in a sacred building, or, "With verdure clad," and "On mighty pens," would have received a warm demonstration. In the first and third parts, Mr. Montem Smith exerted himself with his usual commendable care, the mutual endearments of the " happy pair," which constitute the conclusion of the oratorio, falling to the lot of Miss Eleonora Wilkinson, one of the most pleasing, as well as of the most rising, of our young artists, and Mr. Winn, whose name is sufficient guarantee for efficiency. Mr. Sims Reeves, gave all his wonted expression to 'the favourite air, "In native worth," singing recitatives and concerted pieces with the same taste and finish that have contributed to rank him as first of tenors; while Mr. Weiss's powerful voice was heard to the highest advantage in all the bass 'music of the first and second parts. Mr. Amott, the Cathedral [ organist, wielded the conductor's stick; Mr. G. Townshend Smith, of Hereford, presiding at the organ. The attendance numbered between eight and nine hundred; the collection after the service giving £115 lis. 10d., and that after the oratorio only £52 14s. 8d., making a total of £167 16s. 6d. At first glance it might appear that despite the total inappropriateness of the discourse, a sermon was more effective for charitable purposes than 'an oratorio, but the fact is that five hours and a half—the time \ occupied from the commencement of the service to the conclusion of the Creation—is a little too much, and as the majority of visitors came from a distance, and probably have to return, dine, and dress 'for the evening concert, it is no wonder that the experiment of so 'closely combining the two arrangements should be a comparative failure. The weather, which has hitherto been magnificent, appears , just now to have taken a turn in the other direction, as since the conclusion of the performance ^ steady rain has set in, and heavy clouds portend a wet night.

Gloucester, Wednesday, Although the attendance at the Cathedral yesterday was not so large as it might have been, the stewards should be well satisfied with the result, the difference in price more than compensating for the paucity of members, as the results of the first day are far iu excess of any former meeting. At previous festivals the Tuesday was devoted to the Cathedral service, of which the musical feature was the invariable Dettingen " Te Deum," the overture to Esther, and a couple of anthems, these, together with a sermon, monopolising the day, the prices being 3s. 6d. and Is. This time we have service and sermon, minus the Dettingen, &c, and an oratorio, to which the admission is 15s., 10s. 6d., and 3s. 6d., &c. If the sermon is an absolute necessity it would be better to have it at an earlier hour, as was done at Worcester two years since, when it formed part of the 8 o'clock service in the first day, and the oratorio commenced at the usual hour, and was attended by an auditory half as large again as that we had to record yesterday. Last night's concert was one of average festival dimensions and quality, lasting from eight till half-past eleven, and not comprising one single piece novel to London ears. To the Gloucestrians, however, the case was no doubt different, and neither length nor material in any way interfered with their enjoyment. The two important and, to the natives, most attractive features, were Meyerbeer's Grand Overture, and Verdi's Cantata, both composed for, but the former only performed at, the opening of, the Exhibition, for reasons long since patent to all who take interest in such matters. An excellent band, led by M. Sainton, and including such well known names as the Blagroves, Lucas, Collins, Rowland, Pratten, Nicholson, Lazarus, Chipps, Harpers, &c, is undoubtedly capable of performing anything set down for them, and if neither Meyerbeer's Overture nor Verdi's Cantata was as satisfactory as could be desired, the fault did not lie with the body of instrumentalists, all of whom were not only thoroughly competent, but perfectly versed in the music before them. We would willingly have dispensed with the etiquette which places the local organist in a post for which he can hardly be qualified, as it is neither natural nor reasonable to expect that a gentleman, who but once in three years assumes the baton, can possibly be in a position to direct those who are so much more familiar than himself with the business in hand. At the morning performances this is perhaps less conspicuous, as novelties are seldom, if ever, produced, and the Messiah, Elijah, Creation, &c, are by this time tolerably understood, even in the most remote provincial towns; but at the evening concert, not only such pieces as those to which we have alluded, but the accompaniments to vocal or operatic selections, are frequently marred through a want of understanding between conductor, band, and singer. The latter, who is in front of the former, taking the time to which he has been accustomed, while the chef d'orchestre is industriously misdirecting the instruments to the manifest disadvantage of the general effect. Much better would it be to resign the command to more practised hands, and, with M. Sainton in the orchestra, the difficulty of finding a substitute would not be great. A selection from Acis and Gala tea including " Hush! ye pretty warbling choirV' " Love in her eyes sits playing," " 0 ruddier than the cherry," and "The flocks shall leave the mountains," gave most unqualified pleasure, as may be readily understood when such singers as Miss Eleonora Wilkinson, Mr. Sims Reeves, and Mr. Weiss are concerned. The thorough unity of voice and instrument, exhibited by Mile. Parepa and M. Pratten, in "Lol here the gentle lark," was remarkable. In the course of Verdi's Cantata our musical readers will remember that our own National Anthem is introduced. No sooner were the familiar strains heard, when that loyalty which is so conspicuous a feature in the character of every Englishmen, at once prompted all to rise with looks reverent as if they were performing an act of solemn worship. Presently, however, the Marseillaise (which certainly is not just now the national air of France, •whatever Signor Verdi may say) makes itself heard, when down sits the audience suddenly; after the Italian air, " Le God save," as our lively neighbours call it, is resumed, when once more up rise the hearers, and will not resume their Beats until the end of the Cantata. Although far from perfect, the performance of Beethoven's overture to Egmont, was, on the whole, the best instrumental display of the evening, yet scarcely eliciting a hand of applause, such compositions, perhaps, not being to the taste of the elite of the cheese county. M. Sainton's Fantasia on Scotch Aim, however, once more enlivened the audience, who would have gladly encored the talented French violinist, had he not declined the honour by simply returning to bow his acknowledgments. A highly favourable impression was also created by Mad. Laura Baxter, whose fine voice gave great effect to Mercadante's Se M'abbondoni, as well as doing good service in Leslie's trio, "Oh Memory," and the canon, "11 cor e la mia fe," from Beethoven's Fidclio. What can we tell our readers of how Mad. Sainton Dolby aings the "Cangio d'aspetto," or Virginia Gabriel's ballads, by the same artist, or what can we say of Mile. Parepa's rendering of the Dinordh Shadow Song? Mr. Weiss did well to revive the song, "Hark, ye Soldiers," from the too seldom heard opera (one of Balfe's best, by the way) the Castle of Aymon, and was rewarded by something more than the usual round of applause. A new and elegant ballad, from the facile and accomplished pen of Mr. Howard Glover, composed expressly for Mile. Titiens, was most favourably received, and would have been gladly heard again by many in the room. These, together with an air from Verdi's Lombardi, Dr. Arne's " Now Phoebus ednketh in the west," by Mr. Winn, the duet, "Pronto io son" from Don rasquale, and Mozart's Figaro, which was worthy of a better place than the last in the programme, constituted the remainder of a concert which might have been so much the more advantageously shortened, inasmuch as it was to be followed by a ball, to which, no doubt, many stayed, and " chased the hours with flying feet."

The gloomy forebodings of yesterday evening, as to the weather, were verified, for the rain has came down in torrents since our last writing; fortunately the time selected for the downfall was very late at night, or strictly speaking, very early in the morning. Grey and misty day-break has been succeeded by a most glorious sunshine and a pure unclouded sky, throwing up every line of the delicate tracery and airy pinnacles of the splendid old Cathedral tower—one of the most perfect, as it is one of the most striking of its kind in England—and making everything and everybody look bright and gay. At this moment, too, the Cathedral bells are ringing their merriest; carriages and four, carriages and pair, private omnibuses, and vehicles, all bearing a more or less aristocratic stamp, are dashing up the College Green, and carrying off their charge, which seems to comprise the best looking and most fashionably attired ladies of the county, all, too, repeating the remark to each other (which for once in a way verifies the adage that "what everybody says must be true") "What a very fine performance." And so, indeed, it has been, and seldom have we more thoroughly enjoyed anything than Elijah, as it has been this day given in the Cathedral. Neither the seven hundred (including sixteen double basses) at Exeter Hall, with its miserable approaches, its stifling atmosphere, and general aspect, so eminently suggestive of May meetings, nor the Crystal Palace, with its bright fairy like roof, its flowers, its statuary, its many attractions, and its four thousand performers, can compare to the effect produced hy the compact and efficient band and chorus of three hundred, as heard in the Norman nave, imposing in its solid simplicity, and contrasting so finely as it does with the most highly decorated

choir, and its silvery altar window, in all its pristine purity. The light falling through the stained glass, the west window gorgeous in colour, surmounting the tiers of heads in the gallery,. which fronts the orchestra, and above all the inspired numbers of Mendelssohn's sublime master-piece, all combine to make an ineffaceable impression, and dull, indeed, must be the sense of any who left the building unimpressed by the scene,or untouched by the music. If we felt it our duty to withhold commendation for the general conduct of last night's concert, we can with all the greater justice make the amende to Mr. Amott, for the really admirable manner in which he directed his forces in Elijah this morning. Not only were the respective times correctly taken throughout, Mr. Amott merely adopting the medium course, and neither following the example (of which we have such frequent instance in London) of accelerating the speed, with the mistaken notion of increased brilliancy, nor of dragging the time, as has been generally the case with the conductors of the festivals of the choirs. Taken altogether it is hardly too much to say that this was one of the most unexoeptioaable performances of Elijah ever heard; and although the-double quartett,'' For he shall give his angels,'' was not quite as steady as it might have been, and once or twice a slight want of sharpness in the attack might have been perceptible to the hypercritical, stilj, these were but as spots on the sun, upon which it would be as idle as unkind to dwell. With one exception the solo parts were divided; this arrangement, we presume, being consequent upon having a "double company" of vocalists. In the first part, Mile. Parepa and Miss Wilkinson were the sopranos, Mad. Laura Baxter the contralto, and Mr. Montem Smith the tenor; thus, to the last named gentleman was assigned the lovely air, "If with all your heart," which he sang with much artistic taste and expression; to Mile. Parepa the pathetic duet which records the raising of the widow's son, and the no less dramatic scene leading up to that marvellous and triumphantly sublime climax which concludes the part. Slightly nervous at the first (this we believe being her first appearance at these festivals), Mad. Laura Baxter delivered the touching air, ""Woe unto them," in such a manner, as not only to disarm criticism, but to please the most fastidious. Mile., Titiens confirmed the deserved reputation which she has so rapidly acquired as an oratorio singer, who not only has a magnificent voice, and a perfect knowledge of its use, but adds to these a degree of feeling and intelligence as rare as it is invaluable. To have sung " Hear ye Israel" more fervently than it was rendered by the great Teutonic songstress would have been simply impossible, and the effect produced upon all hearers was commensurate with the means employed; while in the " Sanctus" her voice rang out clear and sweet above all, and perliaps to this it was owing that a majority of the audience rose to their feet and remained standing—an observance ,to which we are only usually accustomed in the " Hallelujah Chorus" of the Messiah. Mad. Sainton Dolby's name is so identified with the exquisite air, "O rest in the Lord," that one would hardly expect to hear it from any other singer; and again, in the Jezebel recitatives, where she incites the people against the prophet, Mad. Sainton's declamation was no less impressive; while in the trio, "Lift thine eyes," Mile. Titiens and Mad. Laura Baxter taking the other parts (the trio being usually allotted, by the way to two sopranos and one contralto), the combination was nothing short of perfection, and fortunately, no manifestation of applause being possible; the succeeding chorus, "He watching over Israel,''was was heard in uninterrupted succession, as it should always be. Mr. Sims Beeves, who takes as much pains with recitatives (which are usually considered ungrateful work for a singer)^ as with the most telling airs, fairly outshone himself in " Then shall the righteous," as the mute looks of admiration(•nd subdued murmurs which followed most clearly showed. Mr. "Weiss sang in both parts, the character of the prophet being most properly confined to one singer, and not divided as in the other instances; an arrangement unobjectionable in the one case, but totally indefensible when applied to the representative of Elijah. Never has our talented basso more worthily sustained his reputation than by his singing this day, investing the part as he does with a degree of earnestness and dignity thoroughly befitting the occasion, and singing from first to last as if he really felt the music, a secret that but too few vocalists seem to understand. Before dismissing the subject, we cannot help once more alluding to a subject which has so often met with reprehension at—our pen—the detestable practice of people leaving before the conclusion of the part; notably, while the chorus was proceeding, "Thanks be to God," which many of them seemed to interpret as a sort of grace before meat, if we may judge by the hurried manner in which they rose and thronged to the doorways with as much anxiety, and as little reverence, as if only five minutes, instead of something like three quarters of an hour, were allowed for lunch time. It would be well if the committee would take a hint from the Monday Popular Concerts, and print on tickets and programmes a request that the audience would not leave their places until the conclusion of either division. The numbers present amounted to 1,326; and the collection to £176 16s. 2Jd., which sum includes the Worcester contribution, now increased from £60 to £61 10s., owing to the surplus there in 1860.

Gloucester, Thursday. Last night's concert may be briefly dismissed, presenting but little feature for remark. The entire first part was devoted to Mozart, commencing with the overture, and concluding with the finale to II jlauto magico, and embracing excerpts from Figaro, Idomeneo, La Clemenza di Tito, and II Seraglio: Miles. Titiens, Parepa, Wilkinson, and Laura Baxter, Messrs. Sims Reeves, Montem Smith, and Signor Bossi, being the vocalists. As on the previous evening, two of the Exhibition compositions were performed. It would, perhaps, have been as well to have added Auber's contribution to Dr. Sterndale Bennett's Inauguration Ode, and so have afforded the Gloucestrians an opportunity of hearing the whole of the music written for the opening of that much abused structure at South Kensington. The fates, the. stewards, or the Conductor, whichever of the three may happen to have the ordering of these things, however, ruled otherwise, and the sparkling work of the ever fresh and genial composer of Fra Diavola and Musaniello has not blessed the ears of the inhabitants of the "fayre citye." The Cambridge Professor's music, so aptly fitted to the Poet Laureate's words, fared, however, but indifferently; the execution being for the most part coarse and unsteady, the light and shade, so necessary in a work of the kind, being "conspicuous by its absence "—ergo, the less said about it the better. Far more satisfactory was the succeeding overture to Der Freyschutz, where the band, taking the matter pretty well in their own hands, honourably distinguished themselves "par consequence." A resolution which the stewards had come to, on the subject of encores, was ruthlessly broken through by the audience, who would not rest content with Mr. Reeves's merely returning to the platform after Mr. Lake's charming song, "Summer is sweet," but kept up a call so long, loud, and persistent, that persistence would neither have been possible nor courteous, and the song was repeated, to the intense delight of all present. Mile. Parepa's clear, powerful voice and facile execution made a marked impression in Auber's air from Le Servient, which, although so frequently heard in London, was evidently new to these parts. To praise Mr. Weiss for his singing "The Wanderer," or Madame Sainton Dolby in Mr. Oakely's "Break, break," and Henry Smart's "Lady of the Lea," would be more than a twice-told tale, and to say that Mile. Titiens and Mr. Sims Reeves sang the duet from Lucia "Egli m'odia," is quite sufficient for our musical readers. Weber's quartett, "Over the

dark blue waters," and Mendelssohn's Wedding March concluded the concert, at a rather more reasonable hour tlian that of the preceeding night. This evening, Benedict's Undine will be the novelty.

Less familiar, but not less difficult than Elijah, is Mendelssohn's Lobgesang, or Hymn of rraise, which, we need hardly remind our readers, was written for the festival held at Leipsic, in 1840, in honour of Guttenburg, the inventor of printing. To hear this magnificent inspiration in a cathedral is worth travelling twenty times the distance from London, for nowhere do the noble harmonies of Mendelssohn, make. themselves felt as in a sacred building. Fortunately, too, the performance of this morning was as nearly as possible unexceptionable; the first and last choruses (abounding as they especially do in difficulties) were occasionally somewhat unsteady, although not to an extent sufficiently appreciable to cause any serious detriment to the enjoyment of the work as a whole. But one thing was wanted to make it complete, and that was Mr. Sims Reeves, who has so completely identified himself with the tenor music, that to hear any one else sing "Watchman, will the night soon pass?" is a drawback of no slight character. Mr. Montem Smith, who sustained the tenor part, is careful and conscientious, but, unfortunately, he has not the physical resources at his command, and so, despite his most praiseworthy efforts, must necessarily fail to produce the effect to which we have been accustomed. Mile. Parepa has, both in the sacred and secular music, made a strongly favourable impression here, and in the' Lobgesang well maintained her position. To Mendelssohn's glorious Hymn, which, with musicians, fairly divides the palm with Elijah, of being unapproached and unapproachable, succeeded a selection from Handel's Judas Maccabxus, in which the most remarkable points were the singing of Mile. Titiens in "Pious Orgies, and "From mighty kings," her full resonant voice telling wonderfully through nave, choir, and aisles of the cathedral. Mr. Weiss never sang "Arm, arm, ye brave," or "The Lord worketh wonders," more finely. Mr Sims Reeves, who alone of any artist, native or foreign, can sing such songs as "Call forth thy powers," and "Sound an alarm," both producing an almost electrical effect, and earning in the hearers such a disposition to applaud vehemently, that nothing but the fact of their being within a sacred building could alone restrain. Nor must Mad. Laura Baxter be overlooked, for the little which fell to her share; the duet, " O never bow we down," the air, "Father of heaven," and recitative, "From Capharsalama," were, one and all, sung in such a manner as to deserve unqualified commendation, and in the present dearth of anything like contralto voices, an organ like that of Mad. Laura Baxter is invaluable, and we have little doubt but that at future festivals we may again have occasion to speak as highly as we have this time done of the abilities of this lady. After Mendelssohn's elaborately written Lobgesang, the choruses of Judas Maccab&us, present but little difficulty, and we need hardly specify anything in particular, although, perhaps, " Fallen is the foe," and " We never will bow down," were the best sung and most highly effective. The selection day has usually the least numerous attendance, but we think the stewards have but little reason to complain, the reserved, gallery, and aisle seats being generally well filled; the total number amounting to 1070, and the collection to £157 3s. 2d. Friday is always looked upon as the crowning day of the meeting, and by what we hear of the disposal of tickets, to-morrow should be a bumper. The early morning services, sustained by the same choral bodies mentioned on Tuesday, are generally well attended. Yesterday the service was Bryce in A, the anthem Gosse's "Praise the Lord;" this morning, Rogers in D, with "Blessing Glory," of Bach, for anthem. The weather, although not so brilliant as yesterday, still remains fine, and there is every prospect of its continuation.


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The musical public—at least the London musical public— at least that part of the London musical public that takes an interest in operatic matters—at least in national operatic matters—knows, or should know, that a new national operatic company, entitled "The English Opera Association (Limited)," has been set on foot for some time, and has been only awaiting the favourable moment to commence operations (no pun). That favourable moment, whatever it may be, has, we are assured, now arrived, and the executive committee have entered into ncgociations with Mr. J. H Mapleson, for Her Majesty's Theatre, where it is intended the English Opera Association shall hold its inaugural season, or, as may be, carry on the campaign for some subsequent seasons, until such time as they may be enabled to build themselves a new theatre, as has been proposed and contemplated, or until they may obtain possession of Drury Lane, which likewise has been proposed and contemplated. Of the specific doings of the Association, we know little or nothing. We are told that Her Majesty's Theatre has been secured, that Mile Titiens will be prima donna, that Mr. Henry Leslie is appointed conductor and musical director, and that business will commence before Christmas. This information is just sufficient to stimulate curiosity—no more. We want to know upon what principle the new company is conducted; who is to assist Mile. Titiens, and in what undiscovered country native singers have been sought and found ; and why with another National Opera already established, the Association should be originated at all.

In the prospectus published some time since, we were informed that "The English Opera Association is founded for the purpose of establishing a National Institution to produce and maintain on the English stage, in an effective and complete manner, the works of native composers, and likewise English adaptations or translations from the French, German, Italian, and other schools." We are also instructed that " fostering and encouraging a love of musical performances is the main object of the founders of the association; and it is to be hoped, ere long, that England will be freed from the stigma of encouraging the music of every country but her own." It is strange indeed that the members of the executive committee, whose names might be fairly accepted

as pledge for at least a knowledge of what was passing around them, should never have heard that a national operatic company, denominated the Royal English Opera, had already existed, and was now in its seventh year, per- forming at Covent Garden; that its objects were precisely similar to those of the English Opera Association; and that even these objects were in a great measure being carried out. Surely the committee would not have sanctioned the publication of the sentence in which it is hoped that England will be freed from the stigma of encouraging the music of every country but her own, if they had known anything about the transactions of the Pyne and Harrison company since its inauguration in the Lyceum Theatre seven years since. Did it not open with a new opera by Mr. M. W. Balfe, who, we must inform the Committee, is a veritable English, or Irish, composer? Did it not adhere almost exclusively to English composers at the commencement, and has it not adhered almost exclusively to them ever since? Have not the changes been rung on the compositions of Messrs. Balfe and Wallace, (Mr. Vincent Wallace, we must also inform the Committee, is a veritable English, or Irish, composer) until the public would have been thankful for any modulation into the Italian or German repertory? But Miss Pyne and Mr. Harrison did not pin their faitb absolutely to Mr. Balfe and Mr. Wallace. The works of other native composers—Messrs. Howard Glover, Alfred Mellon, Henry Leslie, and George Linley, to wit—brought forward, disproves the encouraging of every music but English music, and testifies in a manner quite unaccountable to the ignorance of the executive committee of the English Opera Association. For our parts, we do not clearly understand the drift of the New Operatic Company, unless it be to set themselves up in direct opposition to the Royal English Opera. And to do that, whence are the singers to come? It may be true that Mile. Titiens is secured, although the engagement of a German as prima donna astolula would detract greatly from the boast about the employment of native talent; but one singer, however eminent, will not constitute a company, and the "moi et met poupeei" system is long exploded. Will Mr. Sims Reeves be induced to lend his powerful co-operation? If so, no doubt the Association will be able to make a splendid start. The great tenor and great soprano in conjunction might command all London. But how if Mr. Reeves refuse? Who is to supply his place? Who is to be first tenor? And having procured the tenor, where look for basses? And having found basses, where seek for a contralto? The formation of a company of native artists who would do no discredit to the stage is, just now, simply impossible. Upon what then can the new Opera Association ground its hopes? If foreign singers are to be made use of, then the prefix of " national" or " English" becomes a snare, a mockery, and a delusion, and had better be expunged entirely.

We have no great faith in the management of theatres, dramatic, or lyric, by a company, and fear that this, like other companies, may merge into a clique—its natural resolution. Without one authoritative head endowed withdespotic powers, no enterprise of this kind has ever, to our knowledge, succeeded. If "too much cooking spoils the broth," be an incontrovertible axiom applied to the culinary art, "too many counsellors destroy success" would be as applicable to theatrical governments.

That London is able to support two lEnglish operatic establishments, we believe. Why should it not, seeing that Paris possesses three national institutions? That competition would be beneficial to composers and artists, there is not a doubt The new company, therefore, notwithstanding the expression of our fears, has our best wishes for its ultimate success; and nothing would please us more than to be obliged to retract all we have advanced above in support of the probability of a failure.

THE reputation which the Germans enjoy for conscientious research and indefatigable industry in historical matters, has received fresh corroboration from the thematic catalogue of Mozart's Works, by Dr. Ludwig Flitter von KOchel. The full title of this production is—" A chronologically thematic Catalogue of Wolfgang Amadeus Mozart's complete works. With a lilt of those compositions which are lost, incomplete, doubtful, or merely attributed to him.. By Dr. L. R. von Kbchel, Leipsic, Breitkopf and Hdrtel, 1862. XVIII., and 551 pages large quarto.' The book is dedicated to Professor Otto Jahn. Herr von KOchel began his task long ago, and submitted the portion he had finished to Herr Otto Jahn, when the latter was setting about his own work, without either of them having been previously aware of the other's intention. In his dedication, the author says: "Agreeing with me as to the plan, and the portion already completed, you placed at my disposal a mass of invaluable materials in a manner which no acknowledgements can repay." During the further continuance of the work, also, Jahn gave practical proofs of his interest in it. After an ample preface, the contents of the book are divided into two parts, being very unequal in extent. The first comprises the summary of the complete compositions according to their class and number (p. 1—24); and the second, the chronological catalogue of the complete compositions (p. 25—49G). In the latter lies the gist of the whole work. An appendix (p. 497—531) gives us a list of those compositions designated on the title pages as "lost," etc. The book concludes with a copious list of names and productions, and another of the words. The first summary is very judiciously compiled; indeed, the execution and arrangement of the entire book are excellent, the ease with which every detail can be found leaving nothing to be desired. In this respect the publishers also have greatly distinguished themselves, and, moreover, by the splendid way in which the book is got up, have erected a monument worthy of a master. The first part, then, contains the series of completed works of each various class in continuous small numbers, as, for instance, "Masses, No. 1—20; Symphonies, No. 1—49, etc.;" the themes are here given only in two bars of music, with the tempo, on one system. We are referred, however, to the chronological index by a larger (thick) number before each one, thus: " Requiem 20, 626." Thus this first part furnishes us with an idea of Mozart's labours generally, and, at the same time, of his productions in each separate branch of his art, while the reference to the second part shows us what he did at the various periods of his life. And what a result does its summary disclose? It displays :—

I. Masses 20

II. Litanies, Vespers 8

III. Offertories, Kyries, Te Deums, &c. 40

IV. Organ Sonatas 17

V. Cantatas with orchestra 10

VI. Operas, Theatrical Serenades, Ac 23

VII. Airs, Trios, Choruses with orchestra 66

VIII. Songs with Piano 41

IX. Canons for 2—12 voices 23

* See the Niederrhehiiache Musik-Zeitung.

X. Pianoforte Sonatas and Fantasias 22

XI. Pianoforte Variations 16

XII. Pianoforte Pieces, Rondos, &c 23

XIII. Pianoforte Compositions for 4 hands and 2 pianos 11

XIV. Pianoforte Sonatas and Variations with Violin ... 46

XV. Pianoforte Trios, Quartets, Quintets 11

XVI. Violin Duets and Trios 6

XVII. Violin Quartets (also with one wind instrument)... 82

XVIII. Violin Quintets 9

XIX. Symphonies 49

XX. Divertissements, Serenades for various instruments 33

XXI. Orchestral Pieces, Marches 27

XXII. Dances for Orchestra 39

XXIII. Concertos for various instruments 55

A total of 626 works! If we now examine the compositions, —for instance, the Masses,—by the numbers referring to the chronological catalogue, we find that No. 1 belongs to the year 1768; Nos. 2 and 3, to 1769; 4 and 5, to 1771; 6 and 7, to 1772; 8, to 1773; 9 and 10, to 1774; 11, to 1775; 12, 13, 14 and 15, to 1776; 16, to 1777; 17, to 1779; 18, to 1780; 19, to 1783; and 20 (the Requiem), to 1791. The continuous numbers from 1 to 626 refer to the chronological order in which the works were written, from 1761 to 1791. Next comes the description of piece according to the voice or instrument for which it was written, thus, 550:

"Symphony for 2 violins—tenor, bass—1 flute, 2 oboes, 2 bassoons and 2 horns. Mozart himself subsequently added 2 clarionets. Composed 25th July, 1788, in Vienna.—Mozart't Catalogue, 92."

Then we have the themes of each movement on two systems, in 4—6 bars, with the number of bars of each movement, according to the autographic MS., thus, in the case of this same Q minor symphony:

"I. Allegro molto, 299 bars.—2. Andante, 121 bars.—3. Minuet, Allegro, with Trio, 84 bars.—4. Finale, Allegro assai, 306 bars."

At the end, are notices of the autographic MS. copies, editions, and arrangements, with remarks (historical and testhetic, the last generally extracted from Otto Jahn). For instance, under the head of this same symphony:

"Autographic MS. in the possession of C. A. Andrd, Frankfort, 2 scores, a, without 2 clarinets ; b, with them. Andrd, Catalogue 128, 53 leaves, with 100 written pages, oblique form, twelve-lined. When Mozart added 2 clarionets he wrote upon separate sheets a score for the two oboes and the ttm clarionets—ms the former had to be modified. These pages belong to Andrts's Autographic MS. 128. Editions, score, Leipsic, Breitkopf and Hartel (without clarionets).—Parte: the same publishers, Offenbach, John Andre—Arrangements, &c." (Here arises the question, whether, when the G minor symphony is now played, the above " separate score for the oboes and clarinets" is followed, as it indubitably ought to be. Are the "modified oboes " and clarionets in the edition of the parts published by Andrd?—Remarks: (these contain an Esthetic eulogy from Jahn, and a notice of the error in the andante, discovered by Schumann).

The reader will now be able to form a just notion of the contents of this catalogue. The first consideration before inserting each separate composition in the catalogue, was ite genuineness; the second, its originality. In most cases its genuineness was proved by the existing a\itographic MSS. and Mozart's autographic catalogue, as well as by editions published under his own eye. When these were not to be found, the material reasons for belief in the authenticity of the work are given, though, of course, they had to be corroborated by internal evidence. Whatever was open to doubt has been cleared under the head of " doubtful," or " imputed." The term "complete," that is to say, finished, compositions, must not be taken in its strictest sense. Among these •— and, most assuredly, with justice, — are included works of which Mozart wrote the principal portions, although he never put the finishing touch to them. In every such case it ia carefully remarked how much of them is Mozart'a

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