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knowledge, and raised the music above the nervous interpretation The melody with him is not only beautiful and noble, but appears of the words, without sacrificing the psychical truth of expression in new forms. Fétis himself, whom no one, certainly, will accuse in the melody. At the same time, he developed the received forms, of injustice to the French, says: and created, especially for the so-called concerted pieces, perfectly ! " There is a copiousness of melody in Cherubini, especially in Les new ones, distinguished for a scope never before known, and for an doux Journder, but the richness of the accompanying harmony, the brilamount of work previously unattempted. Such a finale as that liant colouring of the instrumentation, and the inability of the public of in the second act of Lodoiska, and that in Les deux Journées, was the period to appreciate the combination of such beauties, were so great, without parallel upon the French operatic stage, and if Spontini that the real worth of the melody was not at all understood ; thus, it subsequently surpassed Cherubini in these grand points, he enjoyed was lost sight of beneath all those things for which the French possessed the advantage of Mozart's great example, which he was enabled to | no intelligence. Their critics and biographers, who do not know what follow while it was impossible as we have already proved his, they are saying, accuse Cherubini's melodies of want of originality, torically, that Cherubini could have known anything about Mozart's
while originality is precisely one of their most marked characteristics,
since, with all their charm, they are perfectly new and unusual in form. chefs-d'auvre, when composing Lodoiska, Medea, Elisa, and Les
There would be more justice in accusing him of not having always been deux Journées.
guided by a perception of what was requisite for the stage. His first That he afterwards deeply respected and reverenced Mozart is idea is almost invariably a happy one, but his partiality to give his certain. He was the first to introduce that master's Requiem to the notions greater breadth, by working them out, often causes him to forget notice of the Parisian public (in 1805). “Despite the disinclinations the exigencies of the dramatic action; the outline becomes too extended of the Parisians for German music," said German papers of the as he is writing; he is too much taken up and carried away by musical period, “and, despite the repugnance of Parisian artists tosuch a diffi considerations, and the consequence is that the situation sometimes cult performance, Cherubini's zeal and love for this work of Mozart suffers. Too elaborate development injures the animated progress of enabled him to get it performed by 200 of the best singers and
nction." instrumentalists, and performed, too, in such a manner that, on the As is well known, the musical epoch of the nineteenth century very same day, he received a request to repeat it. As a mere | began in the last ten years of the eighteenth. First and foreinost, musical work, unassisted by any of the brilliant adjuncts of the Mozart, then Haydn, in his last twelve symphonies and the Creation, stage, it had produced a deep impression on the Parisians." Gerber, Winter, and, among the Italians, Piuini, Salieri, Cimarosa and from whom we take the above, adds, in his new Lexicon der Paësiello, contributed their most valuable treasures, while Cherubini, Tonkünsler (vol. 1, p. 698), that Prince Esterhazy, on leaving in his Lodoiska and Medea, and Beethoven in his earlier works, Paris in 1810, after having resided there several years, sent came forward as the representatives of the new period. The aboveCherubini a ring worth 4000 dollars.
named Italians, to whom were added, after 1800, Simon Mayr, The worthy Gerber makes an interesting confession, by the way, | Paer, etc., rifled the inheritance left by Mozart, but they were as to how much Cherubini was in advance of his age. After deficient in the sacred fire bestowed from above. Even the patronage relating, under the heading “Cherubini," the observations of Joseph of the mighty ones of this world, especially of Napoleon, and the II. and Napoleon on the music of Mozart and Cherubini, with petty courts of Germany, could not save them from perishing. respect to the too many notes," he continues thus :
Dulibischeff describes most correctly, in the introduction to his last " When such could be the opinion of two of the most accomplished work, the two overpowering circumstances which, in the first few dilittanti (Napoleon, as we all know, had no right to the title) in Vienna years of the present century, proved the ruin of Italian music:and Paris, . what can be the opinion of others in places where art is imineasurably less flourishing and less practised? Unfortunately, I fear
“In the first place, Mozart's operas, at the commencement little that, with the extraordinary progress of instrumental compositions, this
understood in Germany, and as good as unknown in the rest of Europe, would at present be the unanimous opinion of the majority of dilittanti
began, with the new century, to become national works among the
Germans; while they were spreading in Russia, France, and other on hearing such music, supposing them capable of saying what they
countries, there was light in the world of music. The man of all times, thought with the freedom of a Joseph II. or a Bona parte. For how is it, how can it be, possible for them, unprepared, to follow the artist in
of all places, of all nations, became also the man of the day, the
fashionable composer-an honour which did not fall to his lot till some the expression of his multifarious ideas entwined into a whole? Who will choose, and who will be ready, to thank him for the great but
fifteen years after his death, and which he was not destined to enjoy
long. We can easily understand how much this popularity of Mozart, unappreciated art he has employed? We feel inclined to exclaim to
after his decease, must have thrown the Italian masters of the transition composers: • Even though ye should turn again and become as children, ye will not,' &c.—It is the same over-tension, the same relation which
period into the background. But there was another rival element still the new-fashioned theology and philosophy of the professors in our
more terrible and destructive to them, namely, the contemporaneous
rise of the true dramatic music of the nineteenth century, the musio academies bear to the ideas and powers of comprehension of the rest of
founded by the great masters of the French school-Cherubini, Méhul, the world!"
and Spontini. What could composers who continued to work according And yet the same man says of Beethoven (1810):
to a worn-out system do against such works as Lodoiska, Les deux “ How desirable is it that the health and life of this extraordinary
Journées, Faniska, Joseph, and Die Vestalin, which Europe received with artist should be spared, in order that we may be enabled to gain from
enthusiasm, and in which it instantly recognised itself? Even France, his great and lofty genius still much more that is rare, admirable, and
which gave the first impulse to the nascent century, was naturally the tending to perfect art itself. It is a pity that, in most of his works, his
first to find in music expressions and forms for the storm-loaded time it genius inclines to seriousness and melancholy; sentiments, on account
had produced. Music mirrors the state of men's souls, just as literature of the misfortunes of the period, only too predominant in his German
reflects a people's mind. If, on the one hand, Gluck's calm and plastic fellows! Happily, the encouraging and joyous spirit of Haydn still
grandeur, and, on the other, the tender and voluptuous charm of the exists among us in his works, and by their means we may still be enabled
ed | melodies of Pinini and Zacchini had suited the circumstances of a state to recover a more happy frame of mind."
of society nourished with classical exhibitions, and sunk in luxury and
gallantry, nothing of all this could satisfy a society shaken to the very Now, Cherubini was also acquainted with Haydn's symphonies, I foundations of its faith and its organization. The whole of the dramatio which he appreciated most highly. According to a statement of music of the eighteenth century must naturally have appeared cold Reichardt, in the Briefs aus Paris, these symphonies were the cause and languid to men whose minds were so moved with troubles and of the greater breadth and depth of Cherubini's style. Cherubini wars, and even at the present day, the word • languor 'will, perhaps, proved how great was the veneration he entertained for Haydn by best express generally that which no longer touches us in the operas of the answer he gave his friends when they urged him to dedicate the the last century, without quite excepting even Mozart himself. What score of Les deux Journées to the old composer: “No: as yet I we require for the pictures of dramatic music is larger frames, including bave written nothing worthy of such a master." No one will now | more figures, more passionate and more moving song, more sharply reproach him, as the critics of the time reproached him, with his
marked rythins, greater fulness in the vocal masses, and more sonorous
brilliancy in the instrumentation. All these qualities are to be found music being too learned ; on the contrary, it must be admitted that
in Lodoiska and Les deux Journées, and Cherubini may be regarded not his most recondite polyphonies and contrapuntal combinations are only as the founder of modern French opera, but also as that musician invariably clear and transparent. That the French could not
who, after Mozart, has exerted the greatest influence on the general appreciate his style of melody, and that his tunes, with a few excep tendency of art. An Italian by birth, and the excellence of his tions, among which is the first romance of the water-carrier in Les education, which was conducted by Sarti, the great teacher of compodeux Journées, never became popular, was really no fault of his. | sition, a German by his musical sympathies, as well as the variety and
profundity of his knowledge, and a Frenchman by the school and frequent enough, whilst few are to be found capable of rendering principles to which we owe his finest dramatic works, Cherubini strikes | Beethoven's music equal, in any sense, to Herr Derffel. Fräulein me as being the most accomplished musician, if not the greatest genius, | Mehlham sang the vocal music. of the nineteenth century. The overtures of Lodoiska, Les deur MADAME GUERRABELLA left Liverpool, last Saturday, for America, Journées. Faniska, and Medea, to which wo must add Méhul's Chasse by the Europa. to fulfil her engagements in New York. Boston. du Jeune Henri, models of our modern instrumental music, so picturesque, 80 poetic, and so full of warmth and effect, and which "Beethoven,
and Philadelphia. Madame Guerrabella will return to England in Weber, and Mendelsshon were destined subsequently to elevate and
December. bring to perfection. Hadyn and Beethoven acknowledged Cherubini
Mr. Dion BưORCICAULT has taken a lease of Astley's Theatre. to be the first of dramatic composers. But such masterpieces, to be fully understood and enjoyed, demanded musical education, and an intelligent audience, and, as a natural consequence, could produce no impression on the masses." In conclusion, we may add a few anecdotes, gathered from a
ROBERT COCKS & CO.'S MUSICAL PUBLICATIONS. friendly source, and more or less characteristic of Cherubini. In the after dinner conversation at the Tuileries, the exact words of Napoleon, when finding fault with the orchestra for being too loud
MARX'S SCHOOL OF COMPOSITION. VOL I. £1 1.. in Cherubini's operas, were: “Il y a trop d'accompagnement." Cherubini did not forget this, and when, several years later (in CARX'S UNIVERSAL SCHOOL OF MUSIC. 15s. 1805), the Emperor spoke to him at Schönbrunn, about the opera of Faniska, the composer observed :-" Sire, cet opéra ne vous CARX'S MUSIC OF THE NINETEENTH CENTURY, plaira pas."-"Eh, pourquoi non?"_"C'est qu'il y a trop d'ac
AND ITS CULTURE. 15s. compagnement.” A musician, speaking to him about H. B. * in Paris, said, among other things: " B. me dik qu'il n'aime pas la MOTTERFRIED WEBER'S THEORY OF MUSIC. fugue." “C'est que la fugue ne l'aime pas," was Cherubini's dry
IT £1 lls. 6d. rejoinder. One evening he was present at the first representation ALBRECHTSBERGER'S THEORETICAL WORKS. of an opera written by one of his best pupils, t who was in the same O £2 2s. box as himself. Cherubini not having uttered a word, the composer at length exclaimed : “ Mon cher maître, voilà deux heures que nous
MHERUBINI'S THEORETICAL WORKS. 15s. écoutons, et vous ne me dites pas un mot.”—“Mais vous ne me dites rien nonplus,'—said the unbending master. (Translated from the NZERNY'S SCHOOL OF COMPOSITION. £t 14s. 6d. “ Niederrheinische Musik-Zeitung," expressly for the “MUSICAL WORLD," by J. V. BRIDGEMAN.)
ALKBRENNER'S HARMONY FOR THE PIANIST.
MOZART'S TEN VIOLIN QUARTETS. 428.
ART'S SIX VIOLIN QUINTETS. 428. own country by his reading and vocal efforts. The entertainment comprises no absolute novelty, unless we take as such a selection from JOYCE'S CATHEDRAL MUSIC (BY WARREN). £6 68. Allan Ramsay's Gentle Shepherd, which pleasing burden, indeed, is not sufficiently known to the English reader. Mr. Kennedy has an extremely pleasing tenor voice, and sings with a great deal of taste. Cer-I ZERNY'S PIANOFORTE SCHOOL. 4 vols., £6 Os. tainly since the late John Wilson--who to a certain extent originated Supplement, 15s. these single-handed vocal entertainments—we have had no publicTTAYDN'S TWELVE GRAND SYMPHONIES (BY singer who could so truly and naturally render the Scotch songs in their
H CZERNY). £2 58. native dialect, like Mr. Kennedy. His most effective efforts on his opening night were “The Flowers of the Forest,”-a perfect specimen LTAYDN'S EIGHTY-THREE VIOLIN QUARTETTS. of ballad singing--the dialogue song “My boy Tammy," and “Come
£6 6s. under my Plaiddie.” But indeed, with so sweet and expressive a voice as Mr. Kennedy possesses, and with such delicious music to interpret,
TTANDEL'S MESSIAH (BY JOHN BISHOP). Folio, 158 success was inevitable. Mr. Kennedy also recites well, but his chief and 18s. 8vo., 6s. 6d., 3s. 6d., 2s., and ls. 4d. effect is referable to his singing. The new entertainment cannot fail
LANDEL'S ISRAEL IN EGYPT (BY JOHN BISHOP). to please and gratify all who hear it.
2s.; and Folio, 15s. From a Brighton correspondent, we learn that
TAYDN'S CREATION (BY BISHOP), 28., 4s. 6d., folio, Herr Joseph Derffel gave his first pianoforte recital of the season at
15s. the Pavillion, on Thursday last, to an audience at once numerous and OCTAVO EDITION OF SAMSON (BY JOHN BISHOP). select. The programme contained in all eighteen pieces,-four of 29. Folio. 159. which were vocal. The remainder were of a variety of “schools," ranging from Liszt up to Beethoven. There was but one piece by the
TTORSLEY'S VOCAL HARMONY. 6 VOLS, 98s. latter composer—the Sonata in C, No. 3 of Opus 2-in itself a great treat. Still I should like to have heard more of the same class, par
DEETHOVEN'S SEVENTEEN QUARTETTS. £6 Go ticularly when the programme sets forth-" these recitals are offered as veritable lessons by example.” Without wishing to banish the lighter
B Also his FOUR TRIOS and FOUR QUINTETTS (all by ROUSSELOT).
£3 2s. class of music, it would be as well if more of the classical elements had been brought forward at such concerts, when the audience consists DEETHOVEN'S NINE SYMPHONIES FOR PIANO. almost exclusively of young amateurs, whose tastes must, of necessity, D £3 3s. be affected by the “examples" set them by their teachers. I know Mr. Derffel to be one of the right sort, and cannot but think the LTOPKIN'S AND RIMBAULT ON THE ORGAN. Roya omission of more sterling music was an oversight. In Beethoven's IT 8vo., £1 11s. 6d. music, Herr Derttel is quite at home. Few male performers to our mind-Charles Hallé, of course, excepted-enters more fully into the DIMBAULT ON THE PIANOFORTE. Royal 4to., £1 lta. spirit of Beethoven's piano music than Herr Derffel ; whilst in meren digital skill it would be almost impossible to find a superior. Upon
PEST'S 130 CHORUSES OF HANDEL, for Pedal Organs. the next occasion I hope to hear more of Beethoven, even at the expense of Thalberg. "The opportunities of hearing his inusic are
D £3 3s.
ROBRET COCKS & Co., New Burlington-street, London ; and of all Music * Hector Berlioz.
| sellers and Booksellers.
Published this day.
- Thoroughly Revised and partly Re-written.
Published under the immediate superintendence of the Composer.
EXTRACT FROM PREFACE. “A great number of Studies for the Pianoforte already exist, solely intended to form the mechanism of the fingers. “In writing a series of short characteristic pieces, I have aimed at a totally different object.
“I wish to habituate both Students and Amateurs to execute a piece with the expression, grace, elegance, or energy required by the peculiar character of the composition ; more particularly have I endeavoured to awaken in them a feeling for Musical Rhythm, and a desire for the most exact and complete interpretation of the Author's intentions.
THE EDITION CONSISTS OF FIFTEEN BOOKS, PRICE SIX SHILLINGS EACH.'
TOR ORCHESTRA.-MEYERBEER’S GRAND
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SIGNOR GARDONI'S NEW SONG, “ Pourquoi.”
Romance. By SIGNOR MURATORI. Sung by SIGNOR GARDONT at the Concerts
of the Nobility during the present Season, with immense success. Price 25. 6d. THALBERG'S BALLADE,
Boosky & Sons, Holles Street.
SIMS REEVES' NEW SONG, “She may smile on “ An exquisite Romance, which no imitator. however ingenious. I many." By HOWARD GLOVER. .Sung by Mr. Sim9 REEVES with unprecedented
success. Encored on every occasion. Price 3s. could have written as quaint, as fascinating, and at the same time as Thalbergian as anything of the kind that has been produced for years."
Boogey & Sons, Holles Street. -The Times.
MOZART'S DON JUAN. 98. BoosEy & Sons' THALBERG'S ART OF SINGING,
M New Edition, complete, for Voice and Pianoforte, with English and Italian
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This splendid Edition, the best and cheapest ever published, of Mozart's great
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TOSEPH GODDARD'S PHILOSOPHY OF MUSIC.
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ROOSEYS SHILLING MESSIAH, complete Vocal " Among the hitherto unknown compositions were somo selections cal Cabinet"). Price is.-BOOSEY & Sons have much pleasure in announcing their
D Score, with Accompaniment for Pianoforte or Organ, demy 4to (size of “Musifrom the Art of Singing applied to the Piano,' Transcriptions' of new Edition of the “Messiah," printed from a new type, on excellent paper, and in a Operatic Melodies, arranged in M. Thalberg's ornate and elaborate
form equally adapted for the Pianoforte or the Concert-room. The text revised by
G. F. HARRIS, from the celebrated Edition of Dr. Joux CLARK. As a specimen of manner, invaluable to Pianists who believe that the instrument of their
cheap music, this book is quite unprecedented, and it is only in anticipation of the choice can, under skilful management, emulate the violin itself in the universal patronage it will command at the approaching Handel Festival the pubdelivery of cantabile passages.--- The Times.
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Post free, ls. 4d. An edition in cloth boards, gilt, 28. BOOSEY AND SONS, HOLLES STREET.
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MERRY LITTLE MAUD. Tenor ....
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These Instruments are a perfect substitute for the Organ; the apper key
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Guineas. WHEN I BADE GOOD-BYE TO PHEBE. The Popular | 1. Eight Stops (three and a-half rows of vibrators), Rosewood Case ... 45
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Octaves of Pedals ... ... ... ... ... ... 85 TIIE JOLLY BEGGARS' QUADRILLE, by COOTE. Hugtrated in colors ... ... ... ... ... ... ... 4 0
THE DRAWING-ROOM MODEL
IS MADE IN THREE VARIETIES :
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ditto Voix Céleste, &c. THALBERG'S NEW COMPOSITIONS.
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Testimonials from Professors of Music of the Universities of Oxford and Cambridge, the Organists of St. Paul's and Westminster Abbey, the Professor of the Harmoniuin at the Royal Academy of Music, &c., &c., together with full descriptive Lists (Illustrated), may be procured on application to
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Publisho by JOUN BOONEY, at the Omco of BOOSEY & Sons, 28 Holles Stroet.-- Saturday, September 27, 1862.
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SONGS OF SCOTLAND.-HANOVER SQUARE Rooms. IST. MARTIN'S HALL, LONG ACRE.- To be Let
adapted for musical, religious, or literary purposes, or for any
DRIZE MEDAL FOR PRATTEN'S PERFECTED
I FLUTES, WITH THE OLD SYSTEM OF FINGERING.-BOOSEY & Sons OT. JAMES'S HALL.--WELSH NATIONAL MELODIES, have much pleasure in announcing that th
have much pleasure in announcing that these instruments have received the Prizo with Band of twenty Harps, and Choir of 400 voices. Conductor, Mr. Johx
Medal of the International Exhibition. An Illustrated Catalogue may be obtained Tuomas (Pencerdd Gwalia). Mr. WILLIAM LOCKYER, Secretary to the Vocal Asso
upon application to the manufacturers, BOOSEY & Sons, 24, Ho
1 BAND INSTRUMENTS, CORNETS, &c.-BOOSEY & Sons have much
International Exhibition. An Illustrated Catalogue may be obtained upon application
to the manufacturers, Boosby & Sons, 24, Holles Street, w. moniumist, from Belgium, beg to announce that they will give a concert, in Willis's Rooms, on Monday Evening, October 13th ; to commence at half-past seven
ASHDOWN & PARRY (successors to Wessel & Co.) o'clock. Artists, Miss Banks, Vocalist; Herr Lidel, Violincellist; Conductor, Herr A beg to inform the Profession that they forward Parcels on Sale upon receipt of A. Ries. Tickets, 78. each. Family Tickets, to admit four, One Guinca : to be ob references in town. Returns to be made at Midsummer and Christmas. tained at the principal Music Warehouses, and at the Rooms.
Their Catalogues, which contain a great variety of Music calculated for teaching
London : 18 Hanover Square.
1 the waistcoat pocket, is superior to all others, being much more powerful in
or Forte-Is easily repaired, or the pitch altered ir required, V D'AMOUR" will be played by the Band of the Coldstream Guards, under
Price (any noto), 25. od. Post-free. the direction of Mr. Godfrey, at the SOUTH KENSINGTON MUSEUM CONVERSAZIONE, on
BOOSBY & CHING, 24 Holles Street, W. Wednesday Evening next.
COZART'S JUPITER SYMPHONY for Pianoforte, mo CONCERT GIVERS IN BRIGHTON AND by HUMMEL. Price 25. full sizo. I TOWNS ADJACENT.-MR. H. c.'COOPER (Solo Violinist) and MADAME
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In the Press, COOPER, No. 3 Cobden Place, Brighton.
NEW ORGAN MUSIC. BY HENRY SMART.
Specially arranged for the
ORG AN, 244 Regent Street, W.
With Pedal Obligato, by MRS. J. HOLMAN ANDREWS begs to announce to
I EN R Y 8M A R T. I her Frionds and Pupils that she has RETURNED to TOWN for the Season.
London: Doxoan Davisox & Co. 244 Regent Street, w. 60, Bedford-square, W.C.
MARIE D'ANNETTA'S NEW DANCE MUSIC MR. BENEDIOT begs to announce that he will
1 * What Next Quadrilles" (Robin's Last), with cornet accompaniment ... 40 W RETURN to LONDON for the Season the Last Week in October. All ] « The Spirit Rapping Polka," dedicated to all spirit-rappers' mediums communications to be addressed". 2, Manchester-square, W."
"The Liowellyn Waltz," dodicated to Mr. Backwell, B.M. 3rd R.W.M. ... 3 6 Berlio, Sept., 1862.
London: DUNCAN DAVISON & Co., 244 Regent Street, W.
MUSICAL PRACTICE WANTED.-A LADY, a NEW SONGS BY SIGNOR R. PALMERINI.
“Out in the Sunshine" (Poetry by J. E. Carpenter) ... ... 38. man desirous of Disposing of their Business. London or its neighbourhood preferred.
“La Primavera " (Poesía del Signor F. Cacciola) ... Address to F. H., Post-office, Newport, Isle of Wight.
London : DUNCAN Davison & Co., 244 Regent Street, W.
ORGANIST.-Wanted, & Situation for & BLIND
NEW SONGS BY W. VINCENT WALLACE. FEMALE, aged about 23, of excellent character. She is a good Pianist and
« The Song of May" ...
. Organist. Letters to be addressed to Mr. F. Plaw, Vestry Hall, Pancras-road, N.W
London : DUNCAN DAVISON & Co., 244 Regent Street, W.
“Good Night" (Cradle Song) knowledge, age 25, desires to article himself to a professional man, in whosc employ.
“Memory" (dedicated to Miss Helen Hogarth) ... ment he would have an opportunity of learning and practising the organ. He can
" Are they meant but to deceive mo?" teach the elements of music and composition, and the cornet. Address "Sigma," care of. Mr. Ogs, Baker, Post-office, North Place, Gray's Inn
" Thou art şo near and yet so far," as a Yocal Duet Road, London, W.C.
London: Duncax Davisox & Co., 244 Regent Street,