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C:,:. M. THALBERG'S 1 ASHDOWN AND PARRY'S
SYDNEY SMITH.-LA HARPE EOLIENNE. THALBERG'S BALLADE,
D Price 48.,
Ashdown & PARRY, 18 Hanover Square: AN ORIGINAL COMPOSITION FOR THE PIANO. SYDNEY SMITH.-LE JET D'EAU. Price 48.
Ashdown & PARRY, 18 Hanover Square. PRICE 48. “An exquisite Romance, which no imitator, however ingenious,
(VYDNEY SMITH.-RIPPLING Waves. Price 28. 6d. could have written—as quaint, as fascinating, and at the same time as
Ashdown & PARRY, 18 Hanover Square. Thalbergian as anything of the kind that has been produced for years." (YDNEY SMITH.-UNE NUIT D'ETE. Price 28. 6d. -The Times,
Asudowx & PARRY, 18 Hanover Square.
ASHDOWN & PARRY, 18 Hanover Square.
UHE-GOD SAVE THE QUEEN. Grand Brilliant
Fantasia. Price 4s.
AsiDOWN & PARRY, 18 Hanover Square,
UHE-LOGIE O'. BUCHA N. Price 3s. 14. Duet from “ Zauberflöte."
ABUDOXX & PARRY, 18 Hanover Square. . . . 15. Barcarole from “Giani di Calais.".
PRINLEY RICHARDS.THE LASS O' GOWRIE.
D Prico 4s. 16. "La ci darem," and trio, “Don Juan.”
Asipown & PARRY, 18 Hanover Squaro. 17. Serenade by Grétry.
RRINLEY RICHARDS.-SAVOURNEEN DEELISH. 13. Romance from “Otello.”
D Price 3s,
AsudowX & PARRY, 18 Hanover Square. “ Among the hitherto unknown compositions were some selections
A DOLPHE SCHLOESSER.- DON PASQUALE. from the · Art of Singing applied to the Piano,' • Transcriptions' of Operatic Melodies, arranged in M. Thalberg's ornate and elaborate
A Brilliant Fantasia on Donizetti's Opera. Price 4s.
ASHDOWN & PARRY, 18 IIanover Square. manner, invaluable to Pianists who believe that the instrument of their choice can, under skilful management, emulate the violin itself in the TADAME OURY.-IL BARBIERE DI SEVIGLIA. delivery of cantabile passages.- The Times.
Grand Fantasia on Rossini's Opera. Price 5s..
APDOWN & PARRY, 18 Hanover Square. BOOSEY AND SONS, HOLLES STREET.
OLLMICK.-EL FIN REVELS. Price 38.
Ashdowy & Papry, 18 Hanover Square. TOR ORCHESTRA.MEYERBEER’S GRAND
MOLLMICK.—DIANA. Grand Galop de Concert.
ASidowy & Parry, 18 Hanover Square. .
T'DWIN M. LOTT.-SEMIRAMIDE. Fantasia on
1 Rossini's Opera. Price 4s. SIGNOR GARDONI'S NEW SONG, “ Pourquoi.”
ASHDOWN & PARRY, 18 Hanover Square. Romance. By Signor MURATORI. Sung by SIGNOR GARDONI at the Concerts or the Nobility during the present Season, with immenso success. Price 2s. 6d. T W. GOODBAN.-THE GIRLS AND BOYS' Booser & Soxs, Holles Street,
1. OWN BOOK FOR TIIE PIANOFORTE. An Easy, Concise, and Complete Course of Instruction. Price 5s.
Ashdown & Parry, 18 Hanover Square. WIMS REEVES' NEW SONG, "She may smile on
TGNACE GIBSONE.—LE CARILON DE BRUGES. D many." By HOWARD GLOVER. Sung by Mr. Sims Reeves with unprecedented success. Encored on every occasion. Price 38.
1 Price 28. 6d.
Asipowx & Panry, 18 Janover Squaro.
IGNACE GIBSONE.-THE DANCING WATER. MOZART'S DON JUAN. 9s. Boosey & Sons' T A Fairy Tale. Price 3s.
ASHDOWN & Party, 18 Hanorer Square. New Edition, complete, for Voice and Pianoforte, with English and Italian words. The whole of the Recitatives and Notes of the Author's Instrumentation, U AROLD THOMAS.-NOCTURNE on the air Price 93. In cloth (400 pages). This splendid Edition, the best and cheapest ever published, of Mozart's great
I “Come where my love lies dreaming." Price 39. work, should be in the hands of every professor of music.
ASHDOWN & PARRY, 18 Hanover Square.
Also Figaro, 98.
LERDINAND PRAEGER.-HOME, SWEET HOME.
ASHDOWN & PARBY, 18 Hanover Square.
Price 2s. CJ.
Asidowy & Paney, 18 Hanover Square.
DRISSAC.-THE CRUISKEEN LAWN. Price 38. DOOSEYS SHILLING MESSIAH, complete Vocal |
ASHDOWN & PARRY, 18 Hanover Square. Score, with Accompaniment for Pianoforte or Organ, demy 4to (size of “ Musical Cabinet"). Price Is.-BOOSEY & Sons have much pleasure in announcing their
SCOTSON CLARK.-A DREAM OF FAIRYLAND. new Edition of the “Messiah," printed from a new type, on excellent paper, and in a D Price 3s. form equally adapted for the Pianoforte or the Concert-room. The text revised by
ASHDOIS & PARRY, 18 Hanover Square. G. F. HARRIS, from the celebrated Edition of Dr. Joux CLARK. As a specimen of cheap music, this book is quite unprecedented, and it is only in anticipation of the
G. , CUSINS. -- REVERIE. Price 3s. universal patronage it will command at the approaching Handel Festival the puh.
ASIDOWN & PARRY, 18 Hanover Square.
.:: LONDON: ASHDOWN & PARRY, 18 HANOVER SQUARE.
: POPULAR SONGS, &c. FROM THE NEW OPERETTA,
CHAPP'ELL'S CHEAP WORKS BLONDE OR BRUNETTE,
For Various Instruments, 1s. Bd. Each.
THE MUSIC COMPOSED BY
Chappell's Popular Drum and File Tutar
Chappell's Popular Pianoforte Tutor. MERRY LITTLE MAUD. Tenor ... ... ... ... 26
Chappell's Popular Cornet Tutor.
Chappell's Popular Clarionet Tutor.
Chappell's Popular English Concertina Chappell's Popular Harmonium Tator. 'TIS GONE! THE HOPE THAT ONCE DID BEAM. Soprano
Chappell's Popular Singing Tutor.
Chappell's Popular Harmony Tutor. HURRAH! FOR THE CHASE. Baritone
Chappell's Popular German Concortina
Chappell's Popular Seraphina Angelica · AS I LAY UNDER THE LINDON TREE. Tenor ...
Chappell's Popular Guitar Tutor.
Tutor. LOVE'S BRIGHTEST DREAM. Soprano ... ... ... 26
VIOLIN. · THE BELLE OF BALLINGARRY. do. ...
| Chappell's Favourito Alrs in the “Lily | Chappell's Favourite Airs in “Lurline," WHICH IS MINE, THE HAND OR FLOWER? Duet.
and “ Victorine." . Soprano & Tenor
Chappell's Edition of Virdi's “ Un Ballo Chappell's 100 Irish Alrs.
Chappell's 100 Scotch Airs.
Giovanni," easily arranged in a com Chappell's Favourite Airs in “Il TroraSWEET MAIDEN MINE. Tenor ... ... ... "
tore," and " La Traviata." Chappell's Edition of Rossini's “Stabat Chappell's 100 Dances (principally D'Al. Mater," do.
bert's.) Second Violin and Bass Part
Chappell's 100 Dances (Second Series). to Ditto.
Chappell's Favourite Airs in the “ Queen Chappell's 100 Operatic Airi.
Topaze," and in the “ Rose of Castile." | Chappell's 100 Popular Songs. AN OPERETTA, written by J. P. WOOLER, Esq, Chappell's 100 Sacred Songs, Anthems, I Chappell's 100 Hornpipes, Reels, Jigh, A the Music composed by W. H. MONTGOMERY.
Psalms, and Hymns.
Chappell's Favourite Airs in “Robin Chappell's Eighteen Airs, with Easy THE DEAR FORGET-ME-NOT. Tenor ...
Variations, ANNALIE ... ... ... do. ... ... ... 2 6
FLUTE. SOMETHING TO LOVE. Soprano. ...
Chappell's Edition of Verdi's “Un Ballo | Chappell's Favourite Alrs la "Robia MY LADY'S PAGE ... do. ...
Chappell's 100 Dances (Second Series). I Chiappell's Favourite Ain in "Lurline * KEEPER, TAKE THIS RUBY RING. Duet
Chappell's Favourite Airs in the “ Queen | and " Victorine." WHEN I BADE GOOD-BYE TO PHEBE. The Popular
Topaze," and in the “ Rose of Castile." Chappell's Favourite Ain in "11 Trois
Chappell's 100 Sacred Songs, Anthems, tore" and " La Traviata." Song from G. LINLEY's successful Cantata, “ The Jolly
Psalms, and Hymns.
Chappell's 100 Dances (principally D'Al
Chappell's 100 Irish Airs, Beggars," in A and C ... ... ... ... ... ... 2 6 Chappell's 100 Scotch Airs.
Chappell's 100 Operatie Ains. · THE JOLLY BEGGARS' QUADRILLE, by COOTE. Illus.
Chappell's 100 Christy Minstrel Melodies, 1 Chappell's 100 Popular Songs. trated in colors ... ... ... ... ... ... ... 4 0
CLARIONET. HATTON'S NEW SONG, “ CHILDREN." Words by LongFELLOW. Sung by Miss PALMER with the greatest success... 2 6 | Chappell's 100 Sacred Songs, Anthoms, | Chappell's 100 Irish Melodict.
Psalms, and Hymns.
Chappoll's 100 Christy Minstrel Melodia
Chappell's 100 Scotch Melodies. THALBERG'S NEW COMPOSITIONS.
CORNET-A-PISTON. M ELODIES OF SCHUBERT.-Transcribed for the Chappell's Favourite Airs in the “Lily | Chappell's Favourite Alrs la “Bodil Pianoforte.
Chappell's Airs from “Un Ballo in | Chappell's Favourite Airs in “Lurlige No. 1. Dio Talischung
and “ Victorine." 2. Der Neugierigo
Chappell's 100 Dancos (Seoond Series). Chappell's 100 Operatie Ains.
Chappell's Airs from the “ Amberwitch." 3. Die Post
Chappell's 100 Dances (principally D'AL. 2 6 Chappell's Edition of Verdi's. « Un Ballo bert's). Complete, prico 45.
Chappell's 100 Irish Airs.
Chappell's Favourite Airs in the “ Queen Chappell's 100 Scotch Airs. “ Home, sweet homo !" Fantasia
... 30 Topaze," and in the “ Rose of Castile." Chappell's 100 Christy Minstrel Melodie. “ Last Rose of Summer," do. ...
| Chappell's 100 Sacred Songs, Anthems, Chappell's Twenty-five Duets for in
Chappell's 100 Sacred Songs, Anthems,'| Chappell's 100 Operatic Melodies. GARDEN," with German and English Words.
Psalms, and Hymns.
Chappell's 100 Dances (principally D'AL.
Chappell's Favourite Airs in “Robin bert's.)
Chappell's 100 Irish Airs. Chappell's Favourito Airs in “Lurline," Chappell's 100 Scotch Airs. and “Victorino."
| Chappell's 100 Christy Minstrel Melodid. THE EXHIBITION MUSICAL SOUVENIR.
GERMAN CONCERTINA. :: AN ENTIRELY NEW WORK, containing Original |
ing Original Chappell's 100 Operatio Melodies, Songs, | Chappeli's Popular Songs. In : Boulo Contributions of Vocal and Pianoforto Music, by Balfe, Hatton, H. Smart, G.
each Is. 6d. Linley, Goodban, Brinley Richards, Glover, and most of our popular English Composers. Illustrated by the best Artists, and most handsomely bound. Price One
HARMONIUM. Guinea. Exhibited, Class 16, No. 3425, as a Specimen of Music Engraving and Prioting, and Chappell's 100 Dances,
| Chappell's 50 Sacred Melodies. Chromo-Lithography.
Chappell's Popular Songs, Guitar Aco | Chappell's 50 Secular Melodies,
comp., 2 Books.
bert's) in 1000
METZLER & CO. 37, 38 & 35 GREAT MARLBOROUGH STREET, W.
Care should be taken to Order CHAPPELL'S Cheap Workt, as les
alone contain D'ALBERT'S and other popular Copyright Songs
PIANOFORTE AND HARMONIUM WAREROOMS AT No. 16. LONDON: CHAPPELL & CO., 49 & 50, NEW BOND STREET": Printed by HENDERSON, Rait, and FENTON, at No. 13, Winsley Street, Oxford Street, in the Parish of Marylebone, in the County of Middlesex,
Published by Joux BQQEy, at the Ottice of Bopsey & Sons, 28 Holley Street.- Saturday, September 13, 1862
"the woRTn Of Art Appears Most Eminent In Mdsic, Since It Requires No Material, No Subject-matter, Whose Effect Must Be Deducted: It Is Wholly Form And Power, And It Raises And Ennobles Whatever It Expresses."—Qstkc.
STJBSCBIPTION-Stamped for Postage—20s. PER ANNTML Payable in advance by Cash or Post-Offlce Order to BOOSBY & SONS, 28, Holies Street, Cavendish Sq. London, "W.
T. MARTIN'S HALL, LONG ACRE.—To be Let
1 on Lease of Sold, these very valuable Prcmfses, consisting of Large and small
music halls, admirably adapted for musical, religious, or literary purposes, or for any object requiring large space, together with class-rooms, a good dwelling-house, cellars, and conveniences. For particulars apply p.p. to Messrs. Damgkrfield and Frasbr, Solicitors, 26, Craven Street, Charing Cross.
GENTLEMAN, aged 28, a Writer upon Art, is
. desirous of obtaining a post as Secretary or Clerk, or in any capacity where >usiness habits, literary ability, good address, and a disposition to make these generally useful, might be required.
Good references. Salary moderate. 6U St. Paul's Road, Camden Town.
ASHDOWN & PARRY (successors to Wessel & Co.) beg to inform the Profession that they forward Parcels on Sale upon receipt of references in town. Returns to be made at Midsummer and Christmas.
Their Catalogues, which contain a great variety of Music calculated for teaching purposes, may be bad, post-free, on application.
London: 16 Hanover Square.
rpHE CECILIAN PITCH PIPE (a new invention), for
| the waistcoat pocket, is superior to all others, being much more powerful in tone than any other at present in use—the pitch does not vary, whether sounded Piano or Forte—is easily repaired, or the pitch altered if required. P-'<» (any note), 2s. 6d. Post-free.
Booszr A Curso, 24 Holies Street, W.
MOZART'S JUPITER SYMPHONY for Pianoforte, by HUMMEL. Price 2s. full slxe.
Boosey A Sons, Holies Street.
In the Prtu,
NEW ORGAN MUSIC, - BY HENRY SMART,
With Pedal Obligate, bjr
MARIE D'ANNETTA'S NEW DANCE MUSIC
(Characteristically Illustrated). (. d.
"What Next Quadrilles" (Robin's Last), with cornet accompaniment ... 4 0
"The Spirit Rapping Polka," dedicated to all spirit-rappers' mediums ... 3 0
"The Llewellyn Waltz," dedicated to Mr. Backwell, B.M. 3rd R.W.M. ... 3 «
London: Duncan Davison A Co., 244 Regent Street, W.
NEW SONGS BY SIGNOR R. PALMERINL— Out in the Sunshine" (Poetry by J. E. Carpenter) 31.
**La Prlmavera" (Poesia del SignorF. Cacclola) 3s.
London: Duncan Davison A Co., 244 Regent Street, W.
$wd prratate Paste.
DREAM DANCE. For the Pianoforte. By Emanuel Aguilar. 35. '.
FANTASIA ON AIRS PROM HOWARD GLOVER'S OPERETTA, "ONCE TOO OFTEN." By Exiu Bsbobb. 3s.
TARANTELLA FOR THE PIANOFORTE. By Walter Macfarrhn. 4s.
London: Dcxoa* Datuoh & Co.
"These are three morceaux de salon of the most elegant description. Mr. Anm.AK's 4 Dream Dance' is a graceful and imaginative movement, which would make a charming accompaniment to a dance of sylphs or fairies in a ballet. Mr. Berger has selected as the themes of his fantasia the two most favourite airs,* There's truth in woman still,' and * A young and artless maiden,' in Mr. Howard Glover's pretty operetta; working them, by adding a short Introduction, and a brilliant coda in tempo d\ valsa. Into a masterly and animated pianoforte piece, in which the vocal melodies are embellished by a rich and varied accompanlmoi.t. Mr. Macfarron's Tarantella is of course in the time and measure of this Neapolitan dance, and preserves the rapidity of its breathless whirl. While, however. It is thus conventional in its form, it is new and original in its details. There occurs, In particular, in the midst of it, a deliciously soft and flowing melody, played with the left hand, as if an the violoncello or bassoon, with a light and airy accompaniment In the upper part ,which contrasts beautifully with the impetuous current of the rest of the movement." —The Press.
THE AIUS, BALLADS, FANTASIAS, QUADRILLES, WALTZES, &C. IN THE OPERETTA OF
"ONCE TOO O F T E N."
r COMPOSED BY HOWARD GLOVER.
Performed with the greatest success at the Theatre Royal, Drury Lane.
"Oh! Glorious Age of Chivalry." Duet. For Soprano and Contralto ... * 0
•' The Solemn Words his Lips have spoken." Grand Air. For Soprano ... 4 6
"The Lore you've slighted still is true." Ballad. Sung by Mile. Jenxt IlAeu 1 6
"Stratagem is Woman's Power." Ballad. Sung by Miss Emma Hbtwood... 1 6
"Love is a gentle Thing." Ballad. Sung by Jills Hjima Hetwood 3 5
"A young and artless Maiden." Romance. Sung by Herr RKicnABDT ... 3 6
"There's Truth in Woman still." Romance. Sung by Herr Rkichahdt •., 3 6
"The Monks were Jolly Boys." Ballad. Sung by Herr Formes 3 0
"Id my Chateau of Pompernik." Aria Bufla. Sung by Herr Fount ... 3 0
FANTASIAS, QUADRILLES AND WALTZES.
Brinley Richards' Fantasia, on " Once too often " 4 0
Emile Berger's Fantasia, on ".Once too Often" ,~ 3 0
"Fontainhleau Quadrille," by Strauss. (Handsomely Illustrated in Colours) 4 0
"La Belle Blanche Walts," ditto 4 •
London: Dcxoax Davisox it Co. 344 Regent Street, W.
THE FOLLOWING COMPOSITIONS (Copyrights), by this eminent Composer, are published by DUNCAN DAVIDSON * CO. t—
"To thee, dear land, I sing" (Ma Patrie), for 3 Tenors, 3 Basses, and Chorus 4 0
"god save the Queen," 3 Tenors and 2 Basses, with Piano ad Kb 3 0
The Lord's Prayer for Soprano, Alto, Tenor, and Bass, with Organ ad lib.... 3 0
11 This house to love is holy." Serenade for 8 Voices (without accompaniment) 4 0
"Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 3 Tenors, and 1 Baas 4 0
41 Here on the mountain," with Clarinet obiigata 4 0
Violin or Viollncello In lieu of Clarinet, each 4 0
"War to thee," with Violincello o'Mvjato: 4 0
"The Fishermalden" 1 0
Royal Wedding March, composed for the marriage of the Princess Royal
of England with Prince Frederick William of Prussia t 0
Ditto, as a duet 10 0
London: DtrxcAX D Avisos £ Co. 344 Regent Street, W.
BELOVED ONE, NAME THE DAY. Ballad. The Words by Job* Lamb, Esq. The Music by Alfred Mellox. 3s. «d.
MEMORY. Song. The Poetry by Desmond Ryan. The Music by Alexander Reichakdt. 3a.
HAST THOU NO TEAR FOR ME? Ballad. The Words by M. Daiaa. The Music by Ciao Puisuti. 3s.
SLEEP AND THE PAST. Canzonet The Poetry by Harriet Powaa. The Music by J. P. Kxioht. 3s.
GENTLE ELODIE. Romanza. The Poetry by
Mrs. Crawford. The Music by Edward Land. m.
London: Dcmcah Davisox and Co.
"The above are a few of the prettiest vocal pieces that have appeared during fte past publishing season. They are all by well-known and popular composers, of
whose talents they are agreeable specimens. Ualfe's French romance is inhl* ha<p> plest rein. Our countryman has successfully contended with the Parisian composers on their own ground—witness the reception of his fine operas, Les Quatre fill Aymm and Le Pvits <f Amour, at the Opera Comlque; and in the little song before us he •hows how entirely he is at home in the French style. It is tender and passionate, with that infusion of graceful lightness and gaiety which gives the French poetry and music of this class their peculiar charm. Slgnor GardonI has sung It In public with delicious effect; but it by no means requires the1 aid of such a singer to make U Charming. Mr. Alfred Mellon's ballad is worthy of that able and eminent musician. The melody Is simple and natural, without being trite or commonplace; and the whole composition shows that new and striking effects of modulation and harmony may be produced without setting at defiance (as is too often done) the established principles and rules of art.—Few vocal pieces of the present time have obtained greater popularity than Herr Reichardt's song, " Thou art so near," not only in English, but (by means of its German and French versions) all over the Continent. His new production, * Memory,' is of a similar character, and bids fair to have a similar Sue-, cess. Mr. Desmond Ryan's verses are elegant, and Keichardt has united them to the melody at once pure, simple, and expressive. Signer Plnsnti's ballad, * Hast thou no tear for me t' has been recommended to the attention of the public by the pleasing performance of Mr. Tcnnant, for whom it was written, and by whom it has been sung at many of the best concerts of the season. Slgnor Pinsntl, an Italian, has produced an air of Italian grace and beauty, while he has entirely avoided the faults into which foreign composers so often fall in setting English words to music. The melody not only expresses the son time nt conveyed by the poetry, but does not present a single misplaced emphasis or accent—a most important requisite in vocal music. Mr. Knight's canzonet is melodious, flowing, and extremely well fitted for a mezzo-soprano or contralto voice. There is a flaw in one place which dims the clearness of the harmony. In bar 8, page 3, G flat in the melody is accompanied by E natural in the bass, creating a diminished third (or tenth}—an .Interval very rarely allowed, and Rot, we think, in the present case. There is much that is masterly in Mr. Land's romanza, and Mr. Santley, for whom it was composed, has sung it with deserved success. We could have wished It had been a little less elaborate; that the flow of the melody had been less disturbed by extraneous modulation; and that the pianoforte accompaniment had been lighter and less loaded with notes. It is the fine song, nevertheless, and not unworthy of the author's well-merited reputation."—Th$ Press,
NEW AND REVISED EDITION.
THE VOICE AND SINGING
(The Formation and Cultivation of the Voice for Singing).
"The great and deserved success, of this work has brought it, in no long time, to a second edition, carefully revised, and enriched with a number of additional exercises, which greatly incrcaso its value."—UluUratrd JVesrs.
London : DUKCAX DAVISON & Co. 244 Regent Street, W.
SIX OPERATIC RECITALS for the PIANOFORTE, BT
I M MANUEL LIEBICir.
Ho. 1. "FrcyschUtz," dedicated to Miss Catherine M. Phil, ... 4 e
3. "Freyschlitz," dedicated to Miss Taylor ... ... ... 4 0
a. "Norma," dedicated to Miss Katherine Greenhill ... 4 0
4. N Norma," dedicated to the pupils of Miss Gilbertson ... 4 0 a. "Oberon," dedicated to Miss Parke) ... ... ... 4 0
c. "Martha," dedicated to Miss Frances Gurney ... ... 4 0
London: Dcmcak Davison A Co. 344 Regent Street, YV".
GLOUCESTER MUSICAL FESTIVAL.
Sept. 12th, 1862.
If the attendance at the first two concerts was not as numerous as it might have been, the third and last compensated for previous shortcomings, and the anything but cheerful looking Shire-Hall was literally crammed to overflowing, numbers who had deferred making up their minds until too late, learning the application of the proverb, that "procrastination," if not " the soul of business," as Lord Dundreary might say, is certainly the "thief of time," and tickets too, as they found on presenting themselves at the sole depot provided for their sale. And here by the way it may not be out of place to remark the exceeding inconvenience of having only one office for the purchase of tickets. Day after day have we observed, just before the performance, carriages driving up, their occupants struggling for admission into the by no means extensive establishment which enjoys the entire monopoly of the disposal of admissions, an injustice not only to other shopkeepers of the town, but an arrangement productive of delay, discomfort and confusion, as well as detrimental to the interests of the festival, to say nothing of monopolies of all kinds being bad. When the Commissioners of the International Exhibition virtually confined the sale of catalogues to the building, by putting some twenty-five per cent on to the price if purchased elsewhere, the few disposed of soon taught them a lesson of wisdom, and they were glad to rescind their regulation, and permit free trade to an unlimited extent, and so with their tickets, at first restricted, but now to be obtained in all quarters. It can make no difference to the stewards, who only allow a very trifling commission, whether one person or twenty, shall have the percentage ; indeed, we should imagine it would be to their advantage to increase the number, inasmuch as it would afford extended publicity, in itself a most desirable recommendation, in addition to the gain to the public, who, instead of being squeezed and hustled in a narrow doorway, having both in exit and entry to stem a conflicting tide, would have their choice, and procure their vouchers without loss of time or temper. Another arrangement also, of an obstructive character, calls for notice, the erection of a V shaped barrier outside the Cathedral, which might be very well if a terrific rush were expected, like that to the gallery of a theatre on a boxing night, but with doors opened an hour and B half before each performance, it surely cannot be necessary to form a "queue" after the fashion of the Parisian Theatres. There may, however, be an occult reason, and that rather with a view to prevent the rapid sortie, than the too sudden ingress of the public, and so, by gently filtering the audience out of the Cathedral, affording that double file of fair and bewitching ladies (whose smiles are more powerful than either sermons or music, to aid the cause of the charity, and whose cool persistence in refusing to see that one has already contributed to the preceding plate, shows such earnest devotion to the cause, and such thorough belief in their own fascinations) an opportunity of personally soliciting «ach individual, and so allowing none to escape their wiles. If this be the case, whatever inconvenience may be suffered, would of course be borne with equanimity. But to return to our concert. With such an attraction as Mr. Benedict's Undine, it is no wonder that the Gloucestrians flocked in crowds, and exhibited an enthusiasm proportionate to their numbers, and worthy the work they had come to hear. Produced at the Norwich Festival two years since, subsequently performed at St. James' Hall, where its provincial success was at once unanimously confirmed by that most exacting tribunal, a London audience, repeated last year at Hereford, where it was received with no fees favour, this charming cantata has taken the position which is justly its due, and which no composition of a similar nature,' since Dr. Sterndale Bennett's exquisite May Queen (written for the Leeds festival of 1858), has more honourably earned. There is no test so certain to ascertain the intrinsic goodness of music as its frequent repetition, and wo may be sure, if after frequent hearings, it still affords pleasure, that it possesses a sterling worth, beyond the reach of time. Take, for instance, such works as Mendelssohn's Lohgesang or Elijah. What musician is there who does not love to hear them at every opportunity, each time finding fresh beauties, and new sources of admiration, thanking God for the divine art, and only regretting that such a gifted creature should have been called away before his mission was half complete, and thinking sadly oyer that fragment of Christus,:
which promised as far to excel all other oratorios as Elijah had outshone all that had gone before, or any that appear likely to succeed it.
The cast of Undine included two of the original representatives, Mr. Sims Reeves, as Hildebrand, and Mr. Weiss, as Kuhleborn; Mile. Titiens, sustaining the part of Undine, and Mad. Sainton Dolby (as at Hereford), that of Bertalda. The Gloucester audiences, in one respect, somewhat resemble poor Charles Lamb, who, when in his younger days, occupying the useful, but uncongenial post of clerk in a mercantile office, and being reproached by his principal with " really Mr. Lamb, this is too bad, you are late again," replied, stammeringly, "Well, sir, but if I come late, look how early I go away;" and so on this principle, the same people who cannot remain to hear, "Thanks be to God," find it impossible to get in their places time enough to hear the overture and opening chorus of Undine, although the conductor had patiently waited considerably beyond the hour set down for commencement. As a matter of course, all the principal "numbers" met with loud approbation. Undine's elegant and catching song, "Mark the waves that rippling play," the effective terzetto, "Daughter of a wondrous race," the scene commencing with the recitative, "My own Undine," and concluding with the stirring air, "Loud sounds the trumpet"—never more finely declaimed than on this occasion by Mr. Sims Reeves, the solo contralto air, "The Baron's old castle," and the invocation to tho gnomes, all coming in for their share of unmistakeable approval, the quartet and finale, bringing to a triumphant conclusion this charming work, which lends additional pleasure each time that it is heard. Of the general execution we may say with truth, that it might have been better. A concert which included sixteen pieces, in addition to a work the length of Undine, can hardly be called short, but we suppose that as these festivals are only triennial, a less extended programme would not meet the desires of their patrons, to say nothing of the exigencies of principal singers, most of whom like to be heard more than once each evening. The overture to Guillaume Tell should be by this time tolerably familiar to the band, considering how frequently it has been played by the majority of them during the last two seasons, to say nothing of its having been for many years a stock piece at every important meeting in the kingdom; yet, strange to say, its execution was very far from perfect; indeed, a so generally coarse and unsteady performance it has not been our lot for some time to hear. A fantasia of his own composition gave Mr. R. S. Pratten an opportunity at once of displaying the fine tone of his perfected flute (to which the Jurors of Class 16 have awarded a prize medal) and the absolute perfection of his own mastery over the instrument. The clear, flexible voice of Mile. Parepa in Bellini's "Qui la voce," and the sparkling laughing song from Auber's unaccountedly neglected Manon Lescaut, elicited hearty and deserved applause, and it is not surprising that Mile. Titiens should win an encore for her brilliant version of Arditi's well known " Bacio" waltz. If Signor Bossi had rather more knowledge of his art, and less tendency to buffoonery (which is as distinct from real humour as Mr. Sothern's performance is from that of a "music hall" nigger) his attempts at "Madamina" and "Dunque to son" might be more satisfactory. After the latter, it was an agreeable relief to hear Madame Laura Baxter in Mr. H. Smart's "Estelle," which was sung with all the feeling of an artist who thoroughly entered into the spirit and poetry of a composition of which twenty year's existence has not dimmed the lustre. Mr. Weiss, who, at a previous concert, revived one of Balfe's songs from a too seldom heard opera, resuscitated another from an almost forgotten play, The Castle of Andalusia, a melo-drama of the old school, to which we owe that delight of amateur bass singers, (especially in country towns), "The Wolf," as well as "Flow, thou regal purple stream," a good example of Dr. Arnold's style of composition, and which enjoyed wonderful popularity in its day, a popularity of which we hardly think the lease will be renewed by the present generation. The unaccompanied " Pater Noster," from Dinorah, very smoothly sung by Mesdames Parepa, Laura Baxter, Mr. Montem Smith, and Mr. Winn, had its effect destroyed by an instrumental conclusion, as unlooked for as it was perplexing, and for which it appears that the orchestra were not altogether responsible, the piece having been re-instrumented by Meyerbeer, and the parts distributed to them differing from those to which they