own. The greatest difficulty occurred in deciding the chrono- trios, and concertos for thë piano; twenty-four trios and logical order of the various compositions. The certain quartets for stringed instruments ; eight for wind instru. authorities for this were Mozart's own notes; first, in the ments; and ten for symphonetic movements. Most of the unautographic catalogue of his works, from the 9th Hornung completed autographic MSS. are preserved in the Mozarteum, (February), 1784, to the 15th November, 1791, published Salzburg. The catalogue of the doubtful compositions comby A. André in 1805, and, corrected, by Offenbach, at prises forty-six pieces, but many of these, as for instance Johann André's in 1828; secondly, Mozart's autographic ten symphonies, have never been published, and only their headings upon the existing original MSS., the unrestricted themes are known. Among the more important works in use of which was most cheerfully accorded to the author by this class are the two masses in C major and En major, Herr Julius André; and, thirdly, the correspondence of the included in J. Novello's London edition, the pianoforte Mozart family, with announcements, &c., in the publications Sonato in C minor, published as Op. 47, &c.—Sixty-two of the period, as well as similar notices, scattered here and compositions are given as suppositious." In addition to there, although it is true, these are not entirely to be re- four masses (that in G, published as No. 7, by Simrock, lied on.

| Leipsic, as No. 12, by J. Novello—that in Bz, Peters, In spite of the numerous authenticated dates, fortunately Leipsic, No. 7, J. Novello—and two "miss. brev.” in C and abundant, there remained a considerable number of compo- | G), there are a great many songs. The great merit of the sitions for which more uncertain evidence, such as, mate- book consists in its arrangement, which is admirably adapted rially, the character of the handwriting, and, internally, the to facilitate reference. Whether its compass might not have tenor and style of the work, had to be taken into account. been reduced, and, consequently, its price diminished, is How this has been done, we will allow the author himself to another question; both these objects might have been explain :

attained by the omission of the very numerous quotations "It appeared advisable to adopt five periods, of which, in order of

from Otto Jahn's Mozart. Instead of the quotations, a time, we possess strictly marked characteristic pieces. I. Period | mere reference to the work would have answered all the 1761-1767, Boyish Essays (symphonies, concertos, pianoforte pieces). purpose. There are not many new observations. At p. 421 11. 1768-1773, Mozart, the Youth (La Finta Semplice-Mitridate there is a statement of the price paid by Mad. Viardot to Ascanio Il Sogno di Scipione-Litanies, Masses). III. 1774-1780, The Young Man (La Finta Giardiniera-1 Re Pastore--"Miserecordias").

J. André's heirs for the autographic MS. of Don JuanIV. 1781-1784, The Mature Man (Idomeneo, Die Entführung.) V. 1786- | 180 pounds sterling. This supplies a deficiency in Jahn, 1791, The Master's Prime (Haydn-Quartets-Figaro Don Juan- | vol. IV., p. 363. Cosi fan Tutte-Die Zauberflöte Titus-C major symphony--Requiem)."

ooooo In each one of these periods, moreover, we might dis- MHE Nene Berliner Morsle. Zetorna in a recent number tinguish the commencement, the middle, and the end, and |

and 1 gives a complete catalogue of the works of Gluck, acclass any given composition accordingly. The date of those

companied by some observations alike instructive and compositions, however, whose order has not been authenti- linte

the interesting. As is patent to every one, Gluck had written, cally settled, could be determined with a greater or less in the fashionable Italian style of the period, about fifty degree of probability. But, by a fortunate dispensation,

operas, the names of some of which have only lately been the whole period of Mozart's prime is determined by his

rescued from oblivion by recent researches, before he venown catalogue, while the date before 1784 is, in all his most

tured to appear, at last, with his Orfeo, not only as an inimportant works, settled as far, at least, as the year is con

dependent, but also as a reformatory composer before the cerned, by his autographic headings, or else in some other

public of Vienna, whose ear for real music had been spoilt way. In the chronological catalogue, the total of works

by a system of musical titillation. From this date (1762) enumerated amounts to 626. Of these, 179 belong to the

we may, as a rule, speak of genuine Gluckian music, beperiod after, and 447 to that before, the year 1784. Of the

cause, thenceforward, the great and mighty figure of the former, 170 are chronologically certain; and of the latter,

real and inimitable creator of dramatic music stands before 176, making together 346, so that there are 280 remaining which are, chronologically, not quite, or not at all, certain ;

our eyes in its entirety and lofty grandeur. We append

a catalogue of all Gluck's works, as far as we have been being in the proportion of about 9 to 8. Of these 280 |

made acquainted by A. B. Marx's able researches, with chronologically uncertain ones, the date of more than half has been fixed with great probability, so that it is really

their names, and hope that, by so doing, we shall help to

direct general attention to the work of this distinguished hazarded only in about a quarter of the total number of

writer on music, who has accompanied almost every detail compositions. Before all such as are chronologically uncer- with a

uncer with an exhaustive notice. ..' tain, an asterisk is placed to put the reader on his guard.

· In the subjoined catalogue it should be premised that we

I That the author should not have allowed the absence of incontrovertible dates to prevent him

have rendered the word Singspiel," of the original “ Piece

from drawing up a linterspersed with Music.” and “ Festspiel." “ Festive Piece," continuous chronological series of the master's works, is th

that is, a piece written for suine particular festival or comsomething we cannot help approving, particularly as the asterisk prevents the reader from being misled.

memoration, and entitled by the French, “picce d'occa

A highly con interesting portion of the book, as relating to the amount of

(3) De Profundis. work performed by Mozart, is the catalogue of existing 1741 Arterserse. Opera. "compositions only commenced. This catalogue is based 1742 Demofoonte. Opera. mostly on autographic MSS. That, however, such is in

Cleonice (Demetrio). Opera. variably the case, as stated in the preface, p. xvii., is not

Ipermnestra. Opera.

1743 Siface. Opera.borne out by the catalogue itself, since many pieces are

Artamene. Opera. mentioned, on the authority of Nissen, Jahn, &c., with the 1744 Fedra. Opera. addition: “Autographic MS. unknown.” Among these

1745 Il Porto (Allessandro nel Sordie). Opera.

1746 La Caduta de Giganti. Opera. pieces are the beginnings of twelve masses, or other church

1747 Le Nozze d'Ercole e d'Ebe. “Festive Piece. compositions ; five airs; thirty-nine sonatas, rondos, duets, 1748 Semiramide Riconnusciuta. Opera.



1749 Tetide Qudernes Traette. Serenade.

ask: " Are my years of study only for the purpose of understanding the 1749-50 Telemaco. Opera.

rules which guided Bach, Mozart, Beethoven, &c., &c., in their compo1751 La Clemenza di Tito. Opera.

sitions, and are these rules unworthy of imitation which made the works 1754 Le Cinesi. Festive Piece.

of these masterg immortal? How is it that my own teachers do not L'Orfano de la Cina Ballet.

imitate these great men, but set me examples of frivolous compositions ? 1754-55 11 Trionfo di Camillo. Opera.

To all these inquiries there is one very explicit reply, viz., that the Antigono. Opera.

public taste must be gratified, and that the remuneration of publishers 1755 La Danza. Pastorale.

is not to be ignored. Let us, however, hope that all our eminent proL'Innocenza giustificata. Opera.

fessors are not obliged to be of a money-grasping nature, and for the sake Les Amours Champêtres. Piece interspersed with music.

of gain to contribute towards a style of music whose effects are but too 1756 Il Pastore. Opera. .

well known. It requires a great deal of moral courage to refuse money Le Chinois poli en France. Piece interspersed with music. where it is offered, as of course it still will be, for popular compositions, Déguisement pastoral. Piece interspersed with music.

but the conscience of having assisted in purifying music will in the end 1758 L'lle de Merlin. Piece interspersed with music.

repay a trivial loss. La fausse Esclave. Piece interspersed with music.

I intend addressing you a letter next month suggesting a means of 1759 A Cythere assié gée. Piece interspersed with music.

giving the young composer a chance of getting his works known, which, L'Arbre Enchanté. Piece interspersed with music.

up to the present, does not exist, unless he risks the publication at his 1760 Tetide. Serenade.

own expense, when, of course, it can only get a limited circulation among LIvrogne Corrigé. Piece interspersed with music.

his own friends. 1761 Don Juan. Ballet.

Trusting that I may not have said anything offensive to our eminent Le Cadi 0 dupė. Piece interspersed with music.

professors and composers, for whom I have the greatest respect, although Le Diable à Quatre. Piece interspersed with music.

I have not the pleasure of knowing them personally, I remain, yours N Trionfo di Clelia. Opera.

respectfully, (?) A scene from Bérénice. 1762 On ne s'avise jamais de tout. Piece interspersed with music.

Orpheus. Opera. 1763 Ezio. Opera.

OUR NATIONAL OPERA. 1764 La Rencontre imprévue. Operetta.

To the Editor of the Musical World. 1765 n Parnasso Confuso. Festive Piece.

Sir, -Just as great things are looked forward to from a new national La Corona. Festive Piece.

opera association, organised under rather favourable auspices, the old 1767 Alceste. Opera.

Pyne and Harrison administration steps forward and commences busi1769 Paris ed Helena, Poologo delle l'este d Appollo. Festive ness with a company so strong, and arrangements so much more satisPiece.

factory than usual, that it appears a matter of regret that the success Aristeo. Festive Piece.

which will, no doubt, follow, should be interfered with by a second Klopstock's Oden und Lieder.

establishment. To be permanent, an English Opera House, like any Hermannsschiacht.

other speculation, must be profitable. It may be argued that the 1774 Iphigenia in Aulis. Opera.

English Opera at Covent Garden is not yet all that its admirers and 1777 Armida. Opera.

supporters desire. Granted; but does it not possess a magnificent band Iphigenia in Tauris. Opera.

and chorus, an extensive repertory of its own, and, in the present Echo et Narcisse."

season, some of the very best artistes that the English stage can boast? It is true that a new company would probably include Mr. Siins Reeves and Madame Sherrington. There may be found some, as yet untried

talent, to second these established artistes. There are, no doubt, now CLASSICAL v. POPULAR MUSIC.

in England, singers who would prove greater acquisitions than the last

new comers at Covent Garden, and that the Pyne and Harrison comTo the Editor of the MUSICAL WORLD.

pany cannot perform all the works of promise or merit that may be SIR,-Your leading article commencing, “A Gentleman," and the

written for the English stage. But managers who can present in ono letter of a Manchester organist in No. 36 of the Musical World, are so full

week three or four different operas by the most successful English of truth that perhaps you will pardon the attempt of a humble member

composers, supported by such able and experienced artistes as the of the profession to trespass on your valuable time and space with the

Misses Pyne and Parepa, Messrs. Harrison, Santley, Corri, and Weiss, following, trusting that you will excuse any imperfections on account of

with others of more or less experience or promise, have a great chance his being a foreigner.

of acheiving a commercial success. That publishers reject the MS. of any one but known composers, will

, The Pyne and Harrison company have adopted the right course at not surprise those of the profession who have made the attempt to get

last, and could it be possible for a moment to suppose that the means their compositions published, and who, for the sake of getting it brought

and the taste which belong to the executive coinmittee of the new before the public, would gladly have accepted a number of copies in lieu

company might be added to the experience and established reputation of any remuneration for the copyright. It seems that no compositions and recommendations of the old one, there would be hope of a bright of any kind will attract attention unless they are written by well-known

| future for English Opera. With two establishments arrayed against authors. Even if a music-seller were to recommend a piece or song, the les

re to recommend a piece or, song, the each other, the footing which English Opera hag of late obtained will purchaser's laconic reply is: "I do not know the composer's name." I be lost

lebe lost. When one house has succumbed, it will perhaps be found This settles all further recommendation. As far as the publication of that the other is bankrupt.

Robin Hood. songs is concerned, I can well understand why a publisher has a natural tear of risking the publication, for unless the song is advertised in the newspapers as sung by some of our eminent artists, the sale will be com

• THE REV. PHOCIAN HENLEY. paratively small; but then of course the thing is to get it sung-a very expensive affair, as the publisher has to pay a high fee, besides the usual

To the Editor of the MUSICAL WORLD. professional fee, to the artist for singing a certain composition, in order Sir,- Could any of your readers favour me with information as to to give it publicity. Of this fact I have been assured by an eminent where the “Rev. Phocian Henley" resided. Some compositions London publisher. Hence, of course, publishers sooner purchase the (Psalmody) in MS., bearing his name, having come into my possescopyright of songs from operas, as no extra fee is payable for bringing it sion, which have certainly great merit, and are, I believe, entirely before the public.

| unknown at the present time. Yours truly, Permit me also to make a few remarks respecting the cause which, in September 10th, 1862.

R. ANDREWS. my humble opinion, tends to lower the taste for classical music, instead of reforming it.--How is it that all our first composers who have at the MAXCHIESTER.--Mr. R. Andrews gave a concert in the Chorlton Temperance same time obtained great popularity, never write sonatas or other pieces of | Hall, Grosvenor Street, on Monday evening, in aid of the Chorlton relief fund. a classical character for publication? Why is the public continually Mr. Andrews was assisted by his talented young faunily, Miss Andrews, Miss overwhelmed with transcriptions on every popular air (even “ Dixey's Caroline Andrews (encored in two ballads, “ The rising lark,” and “'Twas Land," as introduced by one of our great composers and pianists in a near the banks of bonnie Tweed"), Master A. Guilio Andrews, and Mr. John concerto piece)?

Andrews, ils well as by Miss Flinn, who was encored in the “Golden Harp." Surely this cannot tend to improve the public taste; and even pro- The same compliment was also paid to all the vocalists, in a chorus by fessors from the Royal Academy of Music set this example. What | Rossini. Mr. R. Andrews' pianoforte performances were greatly admireil. reply could possibly be given to a young student who has to undergo a The profits of the concert, about £5, were handed by Mr. Andrews to the thorough course of instruction in counterpoint and fugue if he were to relief fund.

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independently of each other at the same period, and yet which present 80 many points of resemblance in the treatment of the text, the lofty

character of the musical thoughts, the way in which by means of broadly Cherubini owed his appointment as Director of the Conservatory developed forms, these latter are fashioned into shape, and the employ. mainly to the reputation he had acquired by his sacred compositions, ment of all available musical resources for the purpose of carrying out especially the Requiem for five voices and a full band-written by him the object in view. The principal portions of Beethoven's Mass were for the anniversary of Louis XVI.'s death, and performed, for the first performed for the first time in Vienna, on the 7th May, 1824, while time, on the 21st of January, 1816, in the Cathedral of St. Denis. It was Cherubini's work was executed at Rheims, on the 29th May, 1825; but not repeated until February, 1820, when it was performed in the same | Beethoven's was not printed till 1827, after Cherubini's. The same edifice, at the funeral of the Duc de Berri, murdered on the 13th of the thing which had already happened to the two masters in the composisame month by the fanatic Louval. Eight months subsequently, a tion of the operas of Faniska and Fidelio was now repeated in another happier event for the royal family took place, namely, the birth of the branch of the art; on both occasions, however, Cherubini had been the Duc de Bordeaux, on the 29th September, 1820. In celebration of the first, by his Lodoiska, in the operatic style, and by his Requiem, and the child's christening, which took place on the 1st May, in Notre Dame, / Masses in F and D, in the sacred style. the festival opera, Blancha de Provence ou la Cour des Fées, was performed It is from the first few years of Cherubini's appointment as Director the same evening at the Tuilleries, and, the evening following, at the of the Conservatory that we must date the foundation of the Sociéte des Grand Opera. The book was written by Théaulon and Rancé, and the Concerts, which has presérved, until the present day, the reputation of music by Berton, Boiedieu, Kreutzer, Paer and Cherubini. It is now having introduced to the French public the works, most admirably exeall forgotten, except the delightful cradle-song, by Cherubini, for three cuted, of the German masters of instrumental music. The real founder female voices in the chorus: “Dors, noble enfant," which still holds its of the Society was, as we well know, Habeneck, who was also its very place in the repertory of the Paris Conservatory, and has, also, lately heart and soul. Cherubini's share in the matter consisted in his having been reprinted in Germany.t

been the person who always advocated the public practice or displays of The next work composed by Cherubini for an especial purpose was the pupils who had left the Conservatory, as well as of those who were the Mass for the Coronation of Charles X. This work, however, is en- still there, and, whenever they came to a standstill, always exerted dowed with such a character of grandeur, that it will evermore remain himself to set them going again; furthermore, in his recognition of a lasting monument of art, on account of the greatness and loftiness of Habeneck's decided talent as a director, in consequence of which the its ideas, the depth of its conception, the nobleness of its expression, direction of the concerts in question was entrusted to Habeneck, on the the richness and magnificence of its harmony and tone, and its brilliant recommendation of Cherubini, Gossee, and Méhul, even under Sarrette; clearness in all that relates to polyphony and harmonics. The corona- and lastly and chiefly on his supporting, with the whole weight of his tion took place on the 29th May, 1825, in the Cathedral of Rheims. own position, Habeneck's plan, and thereby rendering its execution posThe composition of the music for the festivities was entrusted to sible. Lesueur and Cherubini, solos being excluded by the agreement. The As the establishment of the Société des Concerts in Paris not only chorus at the performance consisted of 20 first, and 20 second marks an epoch in the history of music in that capital, but is likewise sopranos; 28 tenors, and 28 basses, making altogether 96 singers; the of importance for the propagation and the artistically perfect execution instrumental portion was represented by 36 violing, 30 viols, violoncelloes of German music, we have already described its origin at length, in and double-basses, and 36 wind instruments and percussion instruments Nos. 20 and 21 of the series of this paper (the Niederrheinische Musikmaking a total of 102, and a grand total of 198 artists, all of first-rate Zeitung) for 1860, taking as our authority the Histoire, etc., by A. talent. The king entered the Cathedral to the strains of a majestic Elwart, quoted in the foot note. All that is now requisite is for us to march. As the officiating Archbishop handed him the sword, the adduce, from the same work, the proofs of Cherubini's energetic co-operaanthem “Confortare," by Lesueur swelled forth, and, during the pre- tion. At page 62, et seg., we read : “When Cherubini was informed of

parations for the anointing, the anthem, “ Gentem Francorum," by the the plan by Habeneck, he agreed to the request that he should obtain . Game composer. During the seven different stages of the anointing, the authority of the Minister with a degree of warmth which does · there resounded the choruses: “Unxesunt Salamonem," and “ Vivat honour to his memory." « The Minister, M. de Larochefoucault, assented

Rex, vivat in æternum.” This was followed by the “ Coronation to Cherubini's proposals," and the decree of the 15th February, 1828, March," while, at the moment the crown was placed upon the head of permitting the establishment of the Concerts, commences: " At the Charles X., the “Vivat Rex" was again heard, accompanied on this request of the Directors of the Ecole Royale de Musique, we have resolved, occasion by the full organ. At the same moment, and in accordance &c., &c.," and Art. 9 charges him with the execution of the decree. with ancient custom, a number of doves and other birds were let loose | The statutes of the Society contain, at the very beginning, the words : in the cathedral, the doors of the edifice were flung open, the peopleWith the agreement of the Director of the School of Music.” He was rushed in, the cavalry and infantry bands, stationed around the Place, / chairman of the administrative and executive committee (p. 98), and it struck up, the bells pealed, and the cannon roared. Simultaneously, a was at his order, and strictly according to his directions, that the moveshort “ Te Deum," also by Lesueur, was sung.

able platform, rising step by step, was built just as it now exists. This was followed by Cherubini's Mass, in which, besides the Cherubini knew very well that Habeneck's object was the performance of choruses, the “ March at the Communion," one of the most lofty and the works of Beethoven. Had he entertained so mean an opinion of the genial pieces of instrumental music ever written, produced a wonderful | latter as he is reported to have entertained, he certainly would not have impression. Johann Sebastian Bach's Mass in B minor, Beethoven's promoted and arranged the whole affair with the zeal he did, as, in other Missa Solemnis, in D major, and Cherubini's Messe du Sacre, are the three things relating to the Conservatory, he adhered to his own opinion with most brilliant stars in the firmament of sacred music. For the interests great firmness, or rather stubbornness. Thus, for instance, he prohlof the art, a consideration of the various phases in the development of bited the young ladies of the School of Music from taking part either in sacred music from the time of the old Italians, and Nethorlanders, down to that of Bach, and from him, through Haydn, Mozart, Hummel and Frangois Antoine Habeneck was born on the 23rd January, 1781, a his contemporaries to Cherubini and Beethoven, would be a highly | Mezières, where the regiment to whose band his father, a native of Mannbeim, useful undertaking. How great an influence was exerted by the belonged, was then !

| belonged, was then in garrison. He turned out an infant musical prodigy, and spirit, which, sustained by the grand ideas of the time, sprang gave concerts as a violinist when only in his tenth year.

gave concerts as a violinist

In 1814, he carried up in music during the concluding ten years of the last century,

off the first prize for violin playing at the Conservatory, and was patrouised by and the first thirty of the present, is proved by the two works in the Empress Josephine, who made him an annual allowance of 12,000 francs. question of Beethoven and Cherubini, which were produced, quite He soon afterwards entered the orchestra of the Grand Opera, as solo violinist,

with Rud. Kreutzer. His talent as a conductor was developed by his conduct

ing the practice of the pupils at the Conservatory from 1806 to 1815. On one * It will be remembered that the dagger of the assassin struck down the of these occasions he caused Beethoven's Symphony in C major to be played for Duke on the steps at the grand entrance to the Opera-house, as his Royal the first time in Paris. Being afterwards appointed director of the Concerts Highness was accompanying his wife to her carriage. It is not so well known Spirituels, got up by the management of the Grand Opera, he endeavoured to that the then Archbishop of Paris, Monseigneur de Quelen, consented to ad- have the Second Symphony performed, but, instead of the Adagio, which the minister to the dying man, who had been carried into the manager's room, the band unconditionally rejected, he was obliged to interpolate the Andante (lile. last consolations of religion, only on condition that the house should be pulled gretto), of the Seventh Symphony in A, which was encored at the very first down. The Opera was first removed to the Salle Favart, and then inaugurated performance. From 1821 to 1824, he was director of the Grand Opera, while on the 19th August, 1821, in the building in the Rue Lepelletier, where it still Kreutzer was conductor. From 1824, he took Kreutzer's position, and was, at is, since the works have only just been commenced for the erection of a new | the same time, appointed professor of a violin class established expressly for him. Opera-house, on the Boulevard des Capucins, opposite the Rue de la Paix. See The Conservatory Concerts began in the year 1828. On the 31st October, 1846, Architectonographic des Theatres, par Alexis Donnet et Meizzi, continued by he retired from the Opera and the instruction of his class. He conducted the Kanfmann.

Concerts for the last time on the 16th April, 1848. Nine months afterwards + By C. F. Paters, Berlin and Leipsic, with pianoforte accompaniament, and he died, on the 8th February, 1849.-llistoire de la Societé des Concerts, par a German translation of the words. Price, 123 Neue-Groschen.

A. Elwarte, Paris, 1860.

The Operas.

the solos or choruses of the smaller concerts (Concerts d'Emulation) given by the young artists, and concerts which Elwart conducted from 1828 to 1834. The fair pupils were only allowed to play publicly the piano and harp, while the band might execute nothing but compositions of the pupils. Despite all the representations of the most celebrated

ROYAL ENGLISH OPERA, professors, Cherubini adhered immovably to these regulations (Elwart,

On Wednesday Mr. Wallace's popular opera Lurline was performed p. 126). If we look through the Conservatory concert bills, which are given

for the first time this season, and introduced a new prima donna in the by Elwart from their beginning down to 1860, we shall nearly always P

person of Miss Sara Dobson, whose debut on the English stage (more find Beethoven and Cherubini together, the former as representative of

properly, perhaps, the London stage) was looked forward to with un. instrumental, and the latter of vocal music,

usual interest and curiosity. Miss Sara Dobson came from Liverpool (To be continued.)

and Manchester with powerful recommendations. She had received her entire vocal instructions at the hands of the celebrated Mrs. Wood, (Miss Paton), and was reported to have great natural endowments, and to have been trained with the utmost care. Musically speaking, per

haps no better part could have been chosen for a debutante than that of VIEUXTEMPS AT ANTWERP.

Lurline, which absolutely, without meaning, causation, or the semblance

of anything mundane in a histrionic light, is invested by the composer (By an Antwerpian.)

with an abstract beauty and reality, and is listened to, if not looked at, it may truly be said that the greatest piece of musical good fortune throughout with interest. Miss Sara Dobson's first vocal essay behind that could fall to the lot of any lover of the art was ours on Sunday and the scenes was extremely successful. The voice sounded full, mellow, Monday when we were present respectively at a quartet meeting and pure, and the intonation was all but faultless. When she entered where Vieuxtemps held the first violin, and at the concert of the on the scene, “ robed in her garments of ethereal hue," as the poet “ Dames de Charité," when the great artist played four times. As

Fitn" when the creat artist plaved four times. As Fitzball would say, she was greeted with loud applause, which would we said, on the occasion of the concert given by the Royal Society of have encouraged one apparently far more nervous. She gave her openHarmony, Vieuxtemps is, in our opinion, the most perfect artist we

is in our opinion the most perfect artist we | ing song extremely well, and her singing revealed great facility, and an ever heard ; his bowing, tone, correctness, style, vigour, and sentiment,

pesa'stule vigour and sentiment. I ever well-regulated shake. There was no doubt that an accomplished possess a magisterial breadth, a grandeur of perfection, bordering upon

artiste stood before the audience, and one who could confront their the sublime. To these eminent qualities, moreover, which distinguish

scrutiny with little or no timidities. Miss Dobson was accepted by the him as an executant, Vieuxtemps, as a composer, unites others, no less public in a moment, and her success was never in doubt. She was exceptional, of originality, inspiration, and knowledge. He is a genius, applauded loudly, and frequently was recalled after each act, and suinnay, more, a great genius, in the most extended sense of the word. moned at the end to be received with enthusiasm. For our own part,

Paganini, when Vieuxtemps was ten or eleven years old, was one we intend to withhold any more definite opinion until we have heard day asked by the young artist to write something in the latter's album the new singer again. We trust that we may be mistaken, but Miss for him. We saw the album at the time, and, though we cannot

Dobson's voice appears to us to be a little overworn from extra exertion answer for the complete exactness of the words, our memory at least --as if its freshness had departed with straining. Nevertheless, we recalls most faithfully the sense of the phrase Paganini wrote, and must say the upper notes are produced without effort, and are extremely which was :-"My dear young friend, you are the colossus destined to clear and brilliant, and, after all, the want of freshnessin the tones may havo

crush us all." Such was the prophecy which Paganini wrote down arisen fromanxiety in the singer to produce herbest effects. Nodoubt, Miss · and signed with his own hand about thirty years ago, and which | Dobson has unusual talents and acquirements, and promises to beconio Vieuxtemps has actually fulfilled.

one of the ornaments of the British stage. On Wednesday evening, It is in the exeention of quartets that the really competent amateurs | however, we do not think she did herselt entire justice. Her best effort can best appreciate the powers of the organisation and musical genius was in the popular anacreontic, “ Take this cup of sparkling wine," possessed by Vieuxtemps. Consequently, all our amateurs asseinbled which she gave with infinite point and charming expression, eliciting an last Sunday in the saloons of the Provincial Government, where Vieux undeniable encore. Parts of the grand scena, “Sad as my soul," too, temps was to perform a quartet by Haydn, a quartet by Mozart, a were excellent, more especially the melodious Andante, which could quartet by Beethoven, and, in addition to all these, Tartini's “Dreain," hardly have been delivered with greater suavity of voice, and with that piece of musical devilry which he renders still more infernal by happier artistic effect. Of Miss Dobson's claims to be an actress. We the way in which he complicates difficulties already quite suficient to cannot judge from her performance of “Lurline :" that she is easy and terrify the most skilful players, but which are rendered by him with a graceful, we may, however, assert, without fear of contradiction. degree of ease that causes them to appear most natural and most The cast differed in other important respects from last year. Mr. simple.

George Perren was substituted for Mr. Harrison in Count Rololph ; Miss What shall we say of the performance of the quartets ? Every Susan Pyne for Miss Pilling in Ghiva ; and, unless our memory trils us, hand applauding enthusiastically has declared before us; it was sublime Mr. Patey for Mr. George Honey in the Baron Truenfels. Mr. Santley in style, spirit, and feeling. The listener hangs upon the performer's retained his original part of the Rhineberg King, and Mr. H. Corri that bow, and fears even to breathe, lest one of the pearls which fall from it, of the Gnome. Dr. Santley's singing was, perhaps, the distinctive feain a shower of gold, should be tarnished by his breath.

ture of the performance. At Monday's concert, Vieuxtemps played those pieces which were on Thursday, “ The Crown Diamonds" was given, with Miss Louisa new to us, his “ Fantasia Impressionata," which, but for its form, Pyne as Catering one of her most finished performances and Mr. might be cited as a genuine symphonetic concerto, as far as regards Harrison as Henrique. Auber's exquisite opera was played most adınirthe breadth of the style, and the development of the motives; the ably, and received with immense applause. In no music does Miss Pyne “ Impromptu de Chasse," a perfect gem of charming coquettishness; exhibit to greater advantage than Auber's. Her singing is really inand, finally, the “ Transcription de Jerusalem," a real caprice of a great comparable in Caterina. artist. As a “ bouquet," Vieuxtemps treated us once again to his Last night, " Lurline" was repeated, and Miss Sara Dobson made her “ Variations on American Motives,” which are so original and poetic, second appearance. the poetry, indeed, bordering upon ecstacy, when it is the composer himself who interprets and decks them up.

MILITARY Baxd-MASTER AND THE CONCERT Pitch.--A notification The whole evening was for Vieuxtemps a succession of recalls.

has been received at Chatham garrison from the Horse Guards, in which it is From the orchestra to the very back of the room, everyone vied with

announced that, by direction of His Royal Highness the Commander-in-Chief, his neighbour in applause; never did enthusiasm reach so high a pitch,

military band-masters shall always take precedence over civilians on the and never was it so unanimous. Vieuxtemps might say: "His good

occasions when regiments and troops in garrison are brigaded together; and city of Antwerp remains faithful to him, and continues happy and

that whenever bands are playing together, the military band-masters shall proud every time he condescends to allow her to hear and to applaud

lead according to seniority of appointment. The order further directs that, him."

with a view to insure uniformity throughout the regimental bands in the We will pass quickly over the other portions of the concert. Every

British service, the pitch to be used shall be that adopted by the Ancient (?) thing pales by the side of Vieuxtemps; in addition to which fact, those

Philharmonic Society, and that on all occasions of military bands playing the who determined the programme, selected, unfortunately, monotonous,

National Anthem, the key shall invariably be that of Bb. heavy, and slow vocal concerted pieces and solos. We must, however, thank Mad. Cuypers for her obliging complaisance in placing her

JETTY TREFFZ.—A correspondent from Vienna writes us that this popular valuable talent at the disposal of the fair organisers of the concert, and vocalist was married, on the 28th ult., to Herr Johann Strauss, the well known we must also mention the brilliant manner in which the chorus from waltz composer. the Stabat Mater was executed without accompaniment. — Revue MR. AND Mrs. BRINLEY RICHARDS have been on a visit to Whitland d'Anvers, 20th March.

| Abbey, South Wales, the seat of the Hon. W. H. Yelverton.

BRASS BAND CONTEST AT THE CRYSTAL PALACE. cornets was very creditably performed, and the finishing movement well

wound up. On Tuesday the contest at the Crystal Palace, now resolved into an annual

2nd Band. Selection from Preciosa." This band, as a collective body. affair, in which about thirty bands engaged, was in itself a proof that, if not

is most excellent, playing with the greatest precision, and with due consideraessentially a musical people, we are at any rate a people loving music. By far

| tion to the importance of allowing the solo instruments to be heard. The the larger portion of the members of these bands belong to the artisan class ;

solo performers were very good, and all equally deserving of praise for their and we cannot describe their performance more appropriately than in the words

excellent performance of their respective parts. of a French gentleman, who was well qualified to judge: "For professional artists,

3rd Band. Selection from Ernani." The commencement was very good—for workmen, wonderful." The aspect of the great Handel orchestra,

good, but was not well kept up, as regards strict time; the baritone of the when all the bands, after each had played its individual selection, assembled to

duet was very indifferently performed, but the following movement was played join in a general concert, was singularly striking. There were volunteer bands

with great spirit by the cornet; the accoinpaniments, however, being very in green or grey; there were other bands in costumes of their own--notably

coarse. one in neat blue tunics and blue caps with red borders; and there were still

4th Band. Selection from " La Favourite." This band also commenced others who played in their working clothes. Perhaps it was on the latter that

very well; being well in time and tune. The cornet player was very good: attention was chiefly fixed. It can scarcely be denied that there is a tendency

spirito gentil was very well performed, but the performer was rather inclined to in all of us to get somewhat exhausted, somewhat confused, after hearing

| jerk the notes; the accompaniments were splendidly subdued. The remarks thirty brass bands, more especially when out of the thirty pieces that the

applied to No. 2 band is also applicable to this band. aforesaid thirty bands select, no less then ten are by Signor Verdi. Long

ong 5th Band. Selection from * Ernani.” Began very indifferently, but imafter the ear was satiated, the eye could watch the scene with interest. Never

proved as they progressed. This band is decidedly superior to No. 1 band, were more energetic conductors beheld. Each sturdy leader---whether from

the soprano performer being very good. Lancashire, Yorkshire, or Nottingham---put not only his whole soul but his

6th Band. Selection from " 1 Trovatore.” This band deserved great whole sinews into the task of the day---until, with regard to one or two of the

credit for their exertions in the perforınance of this selection, but the piece is more enthusiastic, it became a matter for reasonable speculation whether or no

evidently beyond their capabilities. The Viserére was miserably attempted. they would, in their musical zeal, sbake their arms out of their sockets. How

7th Band. Selection from Preciosa." The performance of this selection ever, we heard of no accident of the kind, and we need scarcely say that the

was throughout splendidly done. contest was conducted in the friendliest spirit by all who took part in it. It

8th Band. Selection from Guilliaume Tell." The performance of this was at once a graceful compliment and a well-earned reward to Mr. Enderby

band was very similar to that of No. 7 band. Jackson, of Hull, the final referee, that his march was received with applause

The 1st Prize, of £30 and an electro-plated cornet (presented by Mr. of unusual heartiness and warmth.

Besson), was awarded to No. 2 band. All present, acquainted with the previous performances, were of one accord The 2nd Prize, £20, was awarded to No. 4 band. in maintaining the superiority of the playing at the present occasion to that on The 3rd Prize, £10, was awarded to No. 8 band. any of the foriner contests. The gentlemen who officiated as judges were The 4th Prize, £5, was awarded to No. 5 band. Messrs. D. Godfrey (Grenadiers), Hartman (12th Lancers), Kanig (13th Light The 5th Prize, £2 10s., was awarded to Xo. 1 band. Dragoons), Smythe (Royal Artillery), Farmer (Nottingham), Eckner (5th The judges were Alfred Phasey, from London, Uriah Richardson, from Fusileers), Richs (37th Regiment), Wilson (Duke of York's School), Hanson Bristol, and Alfred Crow, of Manchester. (late of 39th Regiment), Wellington, Guernsey, Cowaru (Organist to the P.S.—The above remarks were written during the time of performance, by Crystal Palace), C. Godfrey, sen. (Coldstream Guards). The bands were thosc | Alfred Phasey. of Hall Green, Dodsworth's of Bradford, Batley, Civil Service (who, amidst the deluge of Verdi, had the good taste to stick to Mozart), Black Dyke, South Notts, Nottingham Saxe Tuba, Dewsbury, Birmingham, Keighley, Brighton, Loyburn, Todmordeu, Ealing, Deighton, Southampton, Dieltham Mills, Bromley, Sutton in Ashfield, Peterborough, Chesterfield, Newark, Mexborough, Barnet, 26th Middlesex, Blandford. The first prize of £30 and a handsome silver cup, together with a fine contra-bass in E flat, by Distin, were awarded to the band of the Chesterfield Rifle Corps; the second prize of £20, with * Chappell's Brass Band Journal," to the band of the Black Dyke Mills; and the third prize of £15 to the Keighley Band.



sweetness beam: I heard

me, as I stood beside he

upon the world's dort

Remarks upon the performances of the Brass Bands at the DRINLEY RICHARDS.--THE DREAM OF THE annual contest at Bellevue Gardens, Manchester, September 1st, | D WANDERER. Romance, for the Pianoforte, 2s. 6d. “It was a dream, &

soothing dream ; I saw my mother's face with all its holy sweetness beam: I heard the 1862:

words of grace she taught me, as I stood beside her knee in day's of joy, ere launched

upon the world's dark tide, a happy sinloss boy."- Mrs Crawford. 1 Each band to perform a selection from Auber's Massaniello, the cornets to be crooked in B2 :-Eight bands entered.

THE DUNDREARY QUADRILLE, founded on 1st Band. The commencement was very indecisive, the cornets being much

I popular Ainerican and Englsh Airs. By STEPHEN GLOVER. Piano solo, 45 ; out of tune; in the second movement (which is written for a baritone instru- duct, 4s." The name of the composer vouches for the excellence of this sprightly set ment), a bad effect was produced by a cornet playing in unison with the

of dances." euphonion ; they not only played out of tune, but they did not play together. The selection was finished with much better spirit than was displayed at the


FORTE. By BRINLEY RICHARDS, (composer of " Warblings at Ere“) 35. 2nd Bund. This band began the selection with great precision, being well

VINCENT WALLACE'S EDITION OF in tune; the first and second cornets were very good, and the accompaniments

CZERNY'S ETUDE DE LA VOLCITE, with new Studies, by the well subdued in the piano passages; the basses were particularly good. Gene.

Author (to be found in no other edition, English or foreign), with Notes by Hamile rally speaking, this band is most excellent; their style of performance being ton, and Additions by W. Vincent Wallace, 25th edition. Two books, each 6s.; superior.

or complete, 10s. 60.-N. B. Wallace's editiod must be asked for. 3rd Band. This band was inferior to the first band.. 4th Band. Very similar to the second band, the baritone being also very


Yo CZERNY'S 101 ELEMENTARY STUDIES, with new Studies by the

Author (to be found in no other edition, English or forcign), together with Notes by 5th Band. Superior to the first band.

Hamilton, and Additions by W. Vincent Wallace. 30th edition. Two books, each 6th Band. Inferior to the third band.

4s.; complete, 83.- N.B. Wallace's edition must be asked for. 7th Band. This band was disqualified on account of their performing on

The ROSEBUD. Song. By R. LINCOLN Cocks. Poetry by RODERT Brets. Ab cornets; otherwise they played exceedingly well, and, doubtless, would Beautifully illustrated. 28. 6u. "The melody is truly charming, the accounpaal. have stood prominently in the list of awards.

ment pure and musician-like."--The Press. 8th Band. This band was very little inferior to the seventh band.

The ROSEBUD. Melody. By LINCOLN Cocks. Transcribed for Piano by After the bands had performed the selection from lassaniello, they were EDWIN M. Lott. 28. 6d. "A brilliant little piece, divested of all difficalties." allowed to perform a piece of their own selection.

Brighton Obserrer. 1st Band. Selection froin Norma." The selection commenced very slovenly, and the solo instruments were compelled to over-blow the solos

TUST ISSUED, ROBERT COCKS & CO.'S QUARallotted to them, on account of the accompanying portion of the band being

IJ TERLY CIRCULAR OF NEW MUSIC. May be had Gratis and post free too noisy, doubtless anxious to be heard individually. The duet for two 'on application. London: Robert Cocks and Co., New Burlington Street.

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