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©LOTJCESTSR, WORCESTER, JUTO HEStSSS'OB.B

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FOR THE BENEFIT OF THE WIDOWS AND .'OBFHANS OF THE CLEBOY IN THE

THBEE IDIOOESES.* .

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From these Results may be teen the importance of obtaining a large Number Of Stewards, to that in tote a Deficit should ante, it may not be onerous as informer years, but as in 1859 to in small ratio, that gentlemen may be found, who, at at the present time, are willing to accept Ootihually the office of Steward, and who, devoting the advantages they have gained by experience to the working of the Festivals, may render them, if not quite free from loss, at all events never likely to become a heavy pecuniary sacrifice.

The Gifts collected at the Doors of the Cathedral, with any Surplus, are invariably handed over to the Charity without deductions of any kind.

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Note—In 1859 the Collection obtained at Gloucester exceeded any previously made by the Three Choirs; though at Worcester, the following year, th unprecedented sum of £1314 8s. 7d. was raised by Collections and Donations, the sale of tickets, producing at the same time a surplus of £66. Until 1844 the number of the Stewards had been limited to six. Since that period it has been gradually increased, in each city, the result being DiMiwisHtNa Deficits, while a Surplus has been twice obtained at Gloucester, and once at Worcester, and the Stewards have had the satisfaction of presenting WcaEASiNa Collections for the benefit of the Widows and Orphans.

Each Steward having, for himself, by virtue of the office and its responsibilities, free admission to all the performances, a Donation to the Charity of not less than Five Pounds, is paid to the Treasurer, the Rev. Canon Murray Browne.

That the Festivals may retain their present prosperity, the application of the Old Rule, that "each retiring Steward should nominate a successor," would seem to be desirable; so that a large and influential body of gentlemen, creating a lively interest throughout the county, and forming in themselves a strong guarantee against a serious loss, may be always ready to undertake the Stewardship, and thus with ease and gratification to them selves render future Festivals, like the 138 which have passed away, a powerful support to the Benevolent Institution they have so long upheld,

College Green, Gloucester, May, 1862,

* The above official document will be perused with Interest.—Ed, M. W,

J. H. BROWN,

(Secretary to the Stewards,)

Criticism Rigiitly Understood.—M. M. Marie and Leon Escudier tell a story of Mme. Gavaudan, which deserves to be read by every public performer, and weighed well (by manager Knowles, &c). She hadj>layed, one evening, in le Petit Chaperon rouge, in the most charming style, and on her return to the green-room was surrounded by her friends, who congratulated her on her success. Among those present was a journalist, who alone kept silent. Some time before he had criticised Mme. Gavaudan severely, and ho seemed to be uneasy, walking about in evident agitation. Finally, yielding to the general excitement, he approached the actress, and said: —"Madame, can you pardon me for having misjudged your admirable abilities?" "Sir," replied Mme. Gavaudan, "I can only return you thanks. Your severe admonitions have greatly contributed to the success of this evening."

Alexandria.—The new theatre built in this city has received tho

name of Victor Emmanuel.

We certainly thought Young Ireland meant to get its money's worth out of the musicians on the Corcoran day; the wonder is that any of them had any breath left in their bodies. Our neighbour asks: —Did you ever notice how our Irish fellow citizens take to anybody who can blow, or fife, or beat skeepskins? If they have a procession without just about one half of it being "band," it is a dead failure. Why, we had no idea that such a number of blowers and drummers could be raked and scraped together, within forty miles of Boston, as turned out the other day, and gave General Corcoran— brave fellow—such a triumphant reception. But there was patriotism behind those " bands," and it will " tell " now, rest assured!

NOTICES.

To Advertisers.Advertisers are informed, that for the future the Advertising Agency of The Musical World is established at the Magazine of Messrs. Duncan Davison & Co:,- 244, Regent Street, corner of Little Argyll Street (First Floor). Advertisements can be received as late as Three o'.Clock P.m., on Fridaysbut no later. Payment on delivery.

rr, „ < Two lines and under ... 2s. 6d.

1EBMS j Every ad([itional 10 wofdt 6J

To Publishers And ComposersAll Music for Review in The Musical World must henceforth be forwarded to the Editor, care of Messrs. Duncan Davison & Co., 244, Regent Street. A List of every Piece sent for Review will appear on the Saturday following in The Musical World.

To Concert Givers.No Benefit Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in Tub Musical World.'

Londo^: Saturday, October 4, 1862.

*

WHEN will managers of theatres thoroughly understand the relationship that should exist between themselves and the representees of the press? Never, we fear. It seems to be an ineradicable conviction of managers that reporters should bestow nothing but praise on their doings, whether that praise may be deserved or the opposite. A more erroneous conviction could not possibly be entertained. That a reporter for the press should rather dwell upon the strong than on the weak parts of a performance, we readily admit; but that he should (invariably and under all circumstances) seo everything—good, bad, o» indifferent —couleur de rose, it "is nothing'less than monstrous to expect. What ))ecomps of bjs office unde'r such*conditions? Who will believe a single word he, writes? Npt only does the critic who eulogises one performance after another, quand meme, do injustice to himself, but, in an equal measure, to the theatre he attends. His reports degenerate into mere puffs, and thus lose all authority; so much so, that when his praises, however enthusiastic, are entirely merited, they carry no weight with them, or, indeed, are regarded with suspicion. But managers will not see, much less understand, least of all admit the worth of this. They look upon the reporter, who honestly, fearlessly, and conscientiously performs his duty, as no better than an enemy in disguise—an anonymous assailant in short.

Such narrow-minded views are, unfortunately, too prevalent; and just now we have a case in point. Every one has heard of The Manchester Guardian, as a paper (in spite of its Parisian correspondence) remarkable alike for talent and independent speaking. Well, last year, The Manchester Guardian was somewhat severe upon certain performances of Italian Opera, got up by Manager Knowles, at the Theatre Royal. The Guardian had a right to its opinion, and, as a public advocate, was bound to express it openly. This, however, was so little to the taste of Manager Knowles, that, on the resumption of the operatic performances, a short time since, the representative of the Guardian was struck off what is called the "free list." Such a proceeding was not likely to intimidate, much less to influence, a thriving and powerful journal. It was a direct and premeditated insult; and the Manchester paper,

proud in its integrity, thus, at one and the same time explains the circumstances to its readers, and resents the affront in manly and appropriate terms:—

f In justice to ourselves, we desire to call public attention to it deliberate insult inflicted upon our representative by the manager of the Theatre Itoyal. The manager has thought fit to withdraw from our musical critic that free entrance to the Theatre during the present operatic series which by custom the gentlemen of the press are supposed to possess as an appanage of their profession. This step was taken arbitrarily, without previous complaint, notice, or explanation to anyone, and when the cause of this withdrawal of our customary privilege vai asked, the only pretext given was that the lessee had become dissatisfied with the operatic criticisms which have appeared in the Guardian, and in a fit of pique had decided to punish the gentleman who had written them by refusing him the entree to his house. This course could have but one object,—the desire, by a paltry exercise of power, to dictate to us who shall be our critic, or in what strain the musical performances at the Theatre Royal shall be criticised in our columns. Were it not for the desire which is thus manifested to control the free expression of opinion in the press, this unworthy act would have been treated by us with the silent contempt which it would then alone deserve; tat, viewed in the light which we take of it, we feel that these facts ought to be known to our readers, who have an interest in that fidelity and freedom in the expression of opinion which we have always exercised. We need, perhaps, scarcely add that the lessee has gained no advantage whatever by his unworthy act. The gentleman who has now for years past conscientiously performed the duties of .musical critic for the Guardian will continue-to represent us, at the Theatre Royal as elsewhere; but for the future we must pay. for his admission to the house of a man who hasto thank us for many favors and much aid during a not inconsiderable period of time." ....

Manager Knowles should read the foregoing spirited and vigorously expressed defiance every morning before breakfast, and endeavour—if not wholly dead to all sense of what is straightforward, just, and honourable—to profit by it. It may be taken for granted that theatrical speculators can never safely tamper with, can never bully with impunity,a public journal, conscious of, and prepared to fulfil with undeviating integrity, its duties to its patrons and sup porters.

IT its extraordinary Bow ah idea" once' entertained, no matter how wrongly, and accepted without investigation, may resolve itself into B precedent. Every novice in acting is anxious to make his initiative essay in Hamlet, and every operatic candidate for prima donna honors is desirous of making her debut in Sonnambula, and managers appear to sanction what tyros conceive. Pardon may be extended to those who would try their first tragic flight in the Prince of Denmark, on the score of its yonthfulness—since we must suppose that all debutantes arc enabled to plead minority of years; but we cannot so readily comprehend the reasons or motives that could induce instructors and directors of theatres to select Amina as an appropriate part for a beginner. We are aware that the Sonnambula is considered by many an opera peculiarly adapted for artists who only soar midway into the tragic regions, and not at all suited to singers of the grand dramatic school. From this opinion we entirely dissent, and on the best possible grounds. In the first place, author and composer must be allowed to know something of their own intentions. The libretto of La Sonnambula was written and composed expressly for the loftiest serious actress and grandest dramatic singer combined, of the age,—Jnditti Pasta; a proof that the part of Amina was never intended for a juvenile tragedienne. That Pasta did not make Amina one of her most striking achievements was owing entirely to the absence of the comic, or lighter element of acting in the genius of the artist, not to the want of grander requirements of the character. Malibrau, the greatest and most transcendent of dramatic singera, alone of all who attempted the part of Amina, realised the character in singing and acting according to the idea of poet and musician. And who was Mali bran's successor? Is there any hody hold enough to venture on a name? Hundreds have essayed the part, and some have won extraordinary distinction in the performance. Jenny Lind by her marvellous vocalization carried the world with her for awhile, hut the recollection she bequeathed is associated with her singing only. So it had been before in a lesser degree with Madame Persiani, and so it has been with many a singer since, who undertook to perform Amina with little idea of what the part was capable. Why is it, when there are so many who can impersonate such characters as Lucrezia Borgia, Leonora in the Trovatore, Leonora in the Favorita, and others accounted among the legitimate essays of artists in the grand tragic school, that so few succeed in Amina? Is not the question significant? and does it not imply an answer which all who think may guess? That Mdlle. Patti has approached nearer to the Mali bran type than any of her predecessors, we think will be generally admitted; hut this young artist in her versatility, her original views of character, her impulse, her genuine and unforced expression, and the innate grace and feeling that pervades all she does, is certainly truer to nature, and, consequently, more Jike Malibran, than any singer we know, or have known.

The selection of Amina for the second essay in opera of Miss Sara Dobson—the yonng lady who showed so much promise at Covent Garden recently, and was received with so much favour in Lurline—was not complimentary to the artist herself, nor to the directors of the theatre. An impossibility was expected, and was not realized. Miss Sara Dobson not only failed in the essential requisites of the character, but did not even exhibit the undoubted talent she poHsesaes. She was conscientious, and, feeling the weight of the part, was incapacitated by fear. We can compliment Miss Sara Dobson in Lurline. and Satanella, but earnestly counsel her to eschew Amina for years to come.

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ROYAL ENGLISH OPERA. Miss Sara Dobson, the new prima donna, has now been tried in three parts, Lurline, Amina (Sonnambula), and Satanella. Tho first and last were by far the best.

On Tuesday Fra Diavolo was performed for the first time for three years, Mdlle. Parepa sustaining the part of Zerlina; Miss Thirlwall that of Lady Allcash; Mr. Harrison, that of Fra Diavolo; Mr. Weiss, Lord Allcash; Mr. Lyall, Lorenzo; and Messrs. Corri and Aynsley Cook, the two robbers. Wo cannot say that Mdlle. Parepa was the beau ideal of Auber's heroine, althongh she sang the music with great brilliancy, and was frequently received with unbounded applause. She thoroughly drew down the house by her performance of " 0 hours of joy." Mr. Harrison's Fra Diavolo is excellent, manly and forcible throughout, with the true brigand audacity and dash, and, although now and then a little overdone and highly colored, never degenerating into vulgarity. Tho music, too, suits him well, and we may exemplify the scena " Proudly and wide my standard flies," as a vigorous specimen of dramatic singing not usually witnessed on the English boards. Mr. Weiss's Lord Allcash is rather bluff and busy, according with the English notion of the part, than intensely comic like Ranconi, but the singing was admirable, and the performance altogether highly effective.

The exquisitely piquant and fanciful music of Aubcr was given to perfection by the band, under the direction of Mr. Alfred Mellon; and the whole performance, indeed, of this delightful opera was a real treat. The overture —one of the most sparkling and characteristic of dramatic preludes—was dashed off with immense spirit, and received a genuine and well-merited encore.

On Thursday Miss Louisa Pyne made her first appearance since her recent severe indisposition, and was welcomed with great cnthusiam by a very crowded audience. The opera was The Crown Diamonds, and the popular artist was in her best voice, and never sang more exquisitely or more perfectly.

HER MAJESTY'S THEATRE.

"The Great International Exhibition"—writes Mr. J. H. Mapleson, impresario of Her Majesty's Theatre, in his recent advertisement—" having brought so many distinguished persons to town at this unusual period of the year, the lessee has been solicited to afford the public an opportunity of hearing some of the great artistes of Her Majesty's Theatre; bnt as they are already engaged to appear at the Theatre Royal, Dublin, early in October, the representations must be absolutely limited to four only."

Although we cannot subscribe to the influx of " distinguised persons," no doubt numbers are attracted to London by the Exhibition who could not leave the country earlier—" distinguished" farmers, harvest-men, and other rustic characters, whoso occupation would prevent them from quitting the fields before autumn. These will be delighted to find the great Opera in the Haymarket open when they least expected it, more especially with the admissions at a price to enable Fanner Scroggins to treat his wife and family to the stalls. The four performances comprised the most popular works in tho repertory of the theatre, such as might be supposed especially to conciliate husbandmen and agriculturists—if any operas could. The country, in short, is as deeply indebted to the lessee of Her Majesty's Theatre as the town. On Monday night the intercalated season was inaugurated with the Trovatore, and introduced Mdlle. Titiens and Signor Giuglini in Leonora and Manrico, supported by Madame Lcmaire as Azucena and by Signor Badiali as the Count di Luna. To thoso who had not previously heard Mdlle. Titiens and Signor Giuglini, the surprise and delight must have been equal. The two great artists sang their best, which is equivalent to saying transcendently.

Signor Badiali is the paragon of sexagenarian barytones. Time was when ho was accounted a first-rate artist; Signor Badiali is now a wreck of his former self, but still evidences the accomplished artist. The part of the Count di Luna would not have suited Signor Badiali in his most buoyant days, and it is no wonder therefore that the favorite air "H balen" was not a perfect specimen of vocalisation, although the majority of the audienoo applauded with enthusiasm.

Madame Lemaire's Azucena is a very artistic and meritorious performance, as we need hardly inform our readers, and this, too, caino in for a largo share of the evening's demonstration.

On Thursday Martha introduced Heir Formes, for tho first time at Her Majesty's Theatre, in the part of Plumkct. The great German basso converted the umguile insignificant part into veritable importance, and gang tho beer-song like a genuine lover of malt and hops. Mdlle. Titiens was, of course, Martha, and Signor Giuglini Lionel. Mad. Lemaire mado a capital Nancy.

On Thursday Lucia di Iximmermoor was performed, and the effect Mdlle. Titiens produced in the mad scene is literally beyond describing. Such a grand display should have been reserved especially for the regular season.

To-night Trovatore will be repeated, and brings the intercalated season to a finish.

, »v\WWW«

MDLLE. TITIENS. To the Editor of the Musical World. j iSm,—In the account of the " Gloucester Festival" contained in your impression of last week, I find your correspondent has fallen into the same error as the Athenatum and many other papers, respecting tho nationalty of Mdlle. Titiens.

If the question were put to this lady, I should be much surprised if she did not scorn the idea of being thought an " Austrian."

According to the account of my friend, Herr Carl Krehs, Musical Director of the Royal Opera of Dresden, and formerly of Hamburg— Mdlle. Titiens was his pupil and tliat of lus wife, the celebrated contralto—from them she not only studied the art of singing, from a very early age, but also acting, and under their auspices she was " brought out."

Herr Krebs is a man well-known by his compositions in England, and is thought so much of, that Julius Rietz is conductor No. 2 in Dresden.

On parting from him on January 7th last, he particularly wished me to call on Mdlle. Titiens in London, as his friend, saying, " I know she will make you welcome, for she is like myself a Hamburger, yes, 4orn and educated principally in Hamburg, [she will not deny you any favor you may ask her, for the sake of her old master."

People are apt often to make great mistakes in these matters. I recollect some years since seeing the name of H. Jarrett, in a German paper, figuring away as the celebrated horn player, " Mons. II. Jarrett," being engaged at Her Majesty's Theatre! Who does not know that the great horn player is an Englishman. Pray, excuse this long letter.

I am, yours faithfully, Bennett Gilbert.

42, Woburn Place, Russell Square.

Mdlle. Patti and Mdlle. Trebelli are engaged by M. Merelli to appear at the Carl Theatre, Vienna, in a series of Italian Operas.

THE GREAT ORGAN AT DONCASTER.

To the Editor of the Musical Wobld.

Sib,—On my way into Scotland last week for a little autumnal rustication, after the arduous labors of a busy London season, I called at Doncaster to hear the monster organ, which has, after five years' labor by the builder, Herr Schulze, of Paulenzelle, near Erfurt, and a most laudable exhibition of faith and enthusiasm on the part of the organist, Mr. Rogers, just been " opened" (why not" inaugurated," as the French have it ?) in the famous old town so well known and so racily associated with the name of that excellent saint—St. Ledger.

As you will doubtless be well posted up in the list of "stops"— "rows of keys"—" pressures of wind"—" combinations"—"ranks of mixtures," and lots of other technicalities so interesting to the organistic race, I do not propose to enter into any details of these, but merely to give you my impressions of the tone and effect of the Instrument, leaving it to your able contributor, or to some other more competent pen than my own, the task of minutely describing the contents of the Instrument, its peculiarity of construction, and in what respect it differs from, and is said by some people, to be superior to the great English organs at Liverpool, Leeds, Birmingham, &c. In the " five manuals," and " twenty-five stop pedal organ, of which the Instrument is composed, there is, of course, with nearly one hundred draw-stops, great variety of tone, and this variety is, I hear, regarded by the chief admirers of the organ, as one of its leading features.

All the iqft stops realise this opinion. Voiced on a light wind, Herr Schulze has succeeded, as indeed he ought after so much labor, in producing a variety of sweet and delicate tones from the pipes of the Harmonic Flutes, Gedacts, Gemshorns, Lieblich Flutes, Gambas, el hoc genus omne, belonging to the choir, swell, solo, and echo organs, which leave nothing to be desired, and are, I think, superior in lightness and equality of tone to any other stops of the same species yet made in this country.

The Great Organ Work too, as far as the 4ft. Principals, also struck me as being massive and powerfulin tone, especially in the middle part of the manual.

The 32ft. Sub-Bourdon is also very successful;—it gives intensity of tone to the other " diapasons" without muddling them. Beyond this point, however, in the Great Organ, I was not so well pleased. The fourteen ranks of Mixtures are, tolusts an expressive word amongst organists, "cutting ";—they seem indeed to overpower everything else, and, partaking as they do, like most German mixture stops, of a Twelfth-y, and Tierce-y character, produce a predominance of rasping tone, which many organists, I believe, like, and consider " the proper thing," but which I myself must, in all sincerity, object to in toto.

Whilst there is so much in this Grand Organ to gratify the artist, and especially to please the uninitiated, I must confess I was amazed to find in so large an Instrument such a poverty of good Reeds ;—in fact there is a total absence of that particular species of " high pressure reeds," which, since their first introduction into the art of Organ building by the great Parisian builder, Cavaille', have formed an indispensable feature in all large organs, excepting this, and are to the rest of the stops in an organ what the " Brass " is to a well appointed orchestral band. It is but right to add, however, that there are two or three reeds still unfinished, and yet to be placed in the Doncaster Organ; but as these will in no respects differ from the others in their weight of wind and voicing, and Herr Schulze does not altogether " believe in Reeds," they will not, it is reasonable to conclude, make much difference to the general effect when this addition is un fait accompli.

In the Pedal Organ there are some five stops. The " stringed-toned" ones are particularly successful, and in no instance has Herr Schulze shown his skill in voicing more than in obtaining from the pipes in the violoncello stop a very close and admirable imitation of the Instrument from which it derives its name. Still, the weight of the Pedal Organ is by no means commensurate with the number of the stops, and I found the cause to be an economical system of " grooving," whereby one real stop is made to supply two or three draw-stop handles. It is not difficult by this means to get a " 25 Stop Pedal Organ."

The Instrument was inaugurated last week with a series of special religious services, in which no end of Bishops and Organists assisted, and with considerable success; the collections being large, and worthy the occasion. In concluding this slight sketch of the Doncaster Organ, I would express my surprise that so large an Instrument should have been " opened " by making it do duty as a subsidiary accompaniment to Service Music.

To enable one to form a correct and relative value of such an Organ, it must be heard under other circumstances, and in a very different way. To judge of it fairly by comparison with the finest English organs, there should be special Organ Performances, similar to those given at Liverpool, Leeds, Newcastle, &c, where the Organists, if I remember aright, operate without assistance in drawing the stops, or turning the music leaves. I trust that Mr. Rogers the energetic •

Organist, will, as soon as all the stops are in, the couplers, &c, completed, arrange to carry out this suggestion, and I am quite sure he will then have a much better chance of securing from experienced and disinterested judges, the perfect merit he claims for his noble church organ. October 2nd, 1862. Res Pdbuca.

PARIS.
[From our own Correspondent.)

The newest news is that Mario has accepted an engagement at the Grand Opera. All Paris is astir at the tidings, and the greatest excitement prevails in all circles, and nothing else is talked about in musical squares. The great tenor is secured for three months, and the engagement was ratified and counter-signed last week by His Excellency the Minister of State. In England the Minister of State would think it derogatory to his dignity and calling to sign the engagement of Mr. George Perren, at the Royal English Opera. But they manage these things better in France. Mario will make his entree at the Grand Opera on the 15th of next month, either in Comte Org or the Huguenots. Mario in the Comte Ory! Mr. Frederick Gye! here is a hint for you! Mario commenced his operatic career, as all the world knows, at the Grand Opera, in 1838. His debut was thus alluded to at the time by the Entr'acte:— "It was on the 30th of November, 1838, that the young and brilliant Viscount of Candia made his primal apparition on the scene, under the name of Mario. It was only two years previously that he appertained to the opera in quality of pupil. His success as singer of the Saloon had awakened the attention of M. Duponchel, then director of the opera, who was eager to attach him to the theatre, and allowed him a pension of l,500f. per month, all the time he followed the classes of Ponchard and Bordoni, at the Conservatoire.

"He debuted in Robert le Diable. Meyerbeer had added an air in the second act expressly for him. His success was complete. Mario not agreeing well with the director, M. Pillet, quitted the opera in 1841. His farewell representation took place on the 19th of January. He sang the second act of Guillaume Tell, the third and fourth acts of the Huguenots. He was engaged immediately at the Salle Ventadour, when he was heard indi vers circumstances, and every one knows how his fortune was rapid and brilliant in the Italian repertory."

I witnessed the debut of M. Caron, the new baritone, in the Count di Luna, in the Trouvere, which took place a few days since. I cannot speak very favourably of M. Caron. He may improve j there is plenty of room. The first appearance of a new danseuse, Mdlle. Maria Vernon, in the ballet of the Marche'des Innocents, was a very different affair. Her success was very great, and deservedly so. She is in reality a first-rate artiste. Only the journals are a trifle too enraptured about her.

The Theatre Italien opens on the 2nd of November with Norma, as I told you last week, with Madame Pence, who is a far greater favorite in Paris than London. The performance of the Centrentola is looked forward to with more than usual interest, Alboni being announced for her most celebrated part Angelina. It is not stated who plays Dandini. The new tenor, Signor Vidal, who makes his first appearance in Don Ramiro, comes from Milan with a brilliant reputation. Such at least I am told. It is now settled that Mozart's Cost fan tutte will be produced during the season, tho first time at the Salle Ventadour,

Mr. Kennedy's Entertainment On The Sosqs Op Scotland.—This highly successful entertainment was repeated on Monday evening to a crowded and enthusiastic audience, notwithstanding the very inclement state of the weather, and Mr. Kennedy produced, if possible, a still more favorable impression than on his first appearance in London. The encores were numerous, and included an uproarious one in the case of a new Scottish Ballad, entitled "Gentle Bessie," composed for Mr. Kennedy by Mr. Land. In character it is decidedly Scottish, and is worthy of the composer's justly acquired fame. Burns' magnificent war song, "Scots wha hae," was given with intense spirit and fervor. Suffice it to say, that the performances from the comencement to the close were in every particular admirable. Mr. Kennedy (as on the former occasion) had the advantage of Mr. Land's*aluable co-operation as pianoforte accompanyist, the importance or which our musical readers need not be reminded of. Mr. Kennedy announced that he would give one more entertainment on Thursdaty next, with a change of programme, including the recital of Burns' 'Tam o' Shanter," and we have no doubt the same rooms will exhibit an equally overflowing nd fashionable audience as last night.

CORRESPONDENCE FROM ST. PETERSBURG*

Musical matters are making a greater advance here than in any other place, and it is gratifying to professional artists as well as to amateurs to see how, under the most unfavorable political circumstances, a wise government, if really in earnest, can manage to spare some money to work out noble ends, and, with money and a willing spirit, is enabled to do great things. The love of such a government is, however, impressed deeply and permanently on men's minds. First and foremost, we have been successful in the principal point, we have obtained a public Conservatory, a model institution for Russia, nay, for the rest of Europe. It will be solemnly opened to-morrow, in the presence of its Patroness, the Crown Princess, by the Minister of Education and the Director, Heir Rubinstein. I already gave you in April last a list of the distinguished staff of professors, such a staff, as is to be found within the walls of no other city—and I mentioned, likewise, the extraordinary privileges which will be enjoyed by the pupils. The foundation of this noble institution is the greatest blessing which could ever have been conferred upon us by the Russian Musical Society, which spreads all over Russia, after it had been striving for years, by giving really good concerts, and by pushing forward persons of talent, to attain this object. Consistently with their general principles, its members obtained a cabinet order from the Emperor for the immediate introduction of the French normal pitch, and while intelligent Germany is still hesitating and turning the matter over in her mind, to be, after all, compelled to adopt the salutary lowering of the chambertone, we have already the finest instruments, concerts, and operatic performances with the newly adopted pitch. "Forward, Russia, in everything good that raises and advances art!" Who would have sought, in the extreme North, ten years ago, this motto of a truly great and noble-minded Emperor! Yet to-day, it has become a truth, and the institution which will be brilliantly inaugurated under the most favourable auspices, to-morrow, is a guarantee of its seriousness and genuineness. A period has probably arrived when the immortal works of German genius are presented more perfectly in Russia than in any other country. The performances of the Musical Society here and in Moscow, as far back as last year, set this nation afloat. The military bands alio, will be subjected to a thorough reform. Apart from the fact that the French normal pitch will be introduced at once, as a matter of course, Herr Dorppel, the director of the bands of the Guard regiments, has profited by the results of a tour of musical inspection through Mid-Europe, to draw up extensive plans of reform, already submitted to the Emperor. Prussia has been taken as a model for the cavalry.

The theatrical world is in a state of lively agitation; Herr von Saburoff, Intendant-General of the Imperial Theatres, has, at the special command of the Emperor, been removed from his post, and no one has been, as yet, appointed to succeed him. This is another proof of the sovereign's good sense, and we have no doubt that the helm will be entrusted to some better qualified and more intelligent person, f The Imperial Italian Opera is looking forward to the arrival of its forces, most of whom have been playing in London, as well as of the maestro, Verdi, who will resume the rehearsals of his opera, La Forza del Destino, the production of which was unfortunately prevented last year, by the illness of Mad. Lagrua. Evil-minded persons saw in this illness a wellconsidered fiction. So much is certain; Mad. Lagrua will not play the principal part, which, at Verdi's recommendation, Mad. Barbet will only too cheerfully undertake. I am acquainted with the work from having heard it at some of the rehearsals, and I again prognosticate for it an extraordinary success, since it pursues, with tact and talent, an artistic aim in every respect far more than usually serious. Meanwhile the National Opera has recommencedattheMariaTheatre with l<cs Huguenots, and II Trovatore. The prima donna is a novice in art, Mad. Valentine Bianchi, daughter of a celebrated singing master here. She has produced a favorable impression and achieved a success. I have already informed you, in a few words, that, to the delight and satisfaction of all lovers of art, Meyerbeer's immortal opera has been given, by Imperial command, for some short time past, under its true and proper name. At the same theatre, the charming and graceful danseuse, Mdlle. Mouraview is creating a furore. The capital of the North has been terribly spoilt in the way of ballet, from the days of Taglioni and Elster down to those of Rosati and Farraris. The fair little Russian, however, throws them all into the shade; her tour to Berlin, Paris, Milan, and Vienna, will speedily substantiate this bold assertion.

In the foregoing, I have given you merely a faint idea of the present state of things, but I shall be able in my next letter to plunge in medial res, provided my musical intelligence is agreeable to you. To-day, as the wind-up of my communication, I will give you a piece of news,

* From the Neue Berliner Musik-Zeitimg. 1I have just heard that the place has been conferred upon Patkul, formerly minister of police. Better qualified persons, such, for instance, as Count YViilhorski, etc., could, unfortunately not bo thought of, as the office is an honorary one, without arty salary.

which I have only just heard, and which will interest your German readers. The concerts of the Russian Musical Society are to open in October, with [Meyerbeer's grand Exhibition overture, composed by him for London. H. R.

APPEAL FOR THE RESTORATION OF THE BACH ORGAN IN ARNSTADT.* It is a noble characteristic of all true masters of the sacred art of music that they never deny to what is great and elevated in the domain of tune the respect due, and, as consecrated priests of this elevating art, when considering the heavenward-tending creations of inspired minds, they willingly, because happy in the enjoyment of work that is blessed, sink into the dust, and praise the grandeur of their famous predecessors. However such homage of the representatives of the art at the present day may vary in intensity, it has been frequently manifested with glowing enthusiasm hardly to be described by any pen, towards the bright luminaries in the heaven of art, namely, Bach, Gluck, Haydn, Mozart, and Beethoven. Noble foundations for the education of talented musicians; numerous art-associations for the purpose of propagating most effectively among all classes of the people the works of these select masters—works which improve and ennoble the human race; squares, and statues erected as marks of honor, respect, and gratitude, to the memory of those long since dead, and held out as an incitement to exertion to the present working generation of art: all these are the expression of that unmeasured veneration paid by living artists, and educated persons among the general masses, to those immortal priests of godlike art. As the first-named of those art-heroes, namely, Bach, that master humbly worshipped by all true disciples of the art, is not only tho greatest ruler of tone, but, also, an organist never equalled, the attention of all musicians and lovers of music is very justly turned to a project which was mooted last year, and may soon be considered completely realised. This project is nothing more or less than: "By means of a thorough restoration, to preserve, for all time, and as a monument of the most profound respect towards him, the greatest composer in the world, the Bach Organ in the Nuuekirche, Arnstadt; the instrument which the great master consecrated, and which he played, from the time he was eighteen, four years in his official capacity, the only organ remaining of the period during which he was officially engaged in the exercise of his profession.'

Attempts to raise the means for restoring the organ have been made by selling a lithographic representation of it, together with the facsimile of Bach's handwriting at the time, while the appeal published in these columns last year, and entitled: "A monument to be erected to Johann Sebastian Bachat Arnstadt," has not been passed over unheeded.

A large number of the members of the Bach Association, as well as numerous flourishing art-institutions, both in Germany and other countries, have, as high-minded lovers of art and science, forwarded their contributions, in terms of warm approbation, for the monument, and these contributions, added to the handsome present of the Prince of Schwarsburg Sondechausen, as well as those of other high-minded princes, who are fond of art, and a contribution, in keeping with its means, from the town of Arnstadt, already make up more than twothirds of the amount required, so that with an increase of the interest evinced among the representatives of art at the present day for this noble object, the Bach Monument will, probably, soon be a reality.

May all who take a pride in art remember that Johann 8ebastian Rich, the master of masters, was their teacher as well as the teacher of others, and provided them with the field for their exertions. Let them, therefore, speedily and willingly send in their donations, as a sacrifice of gratitude towards the immortal hero of art, to make up the third still deficient.

Like unfading flowers, entwined into a chaplet for the manes of Bach, the names of those persons who take part in the project will be inscribed upon a tablet, and afford posterity convincing evidence of the deep interest they manifested for the worthiest among all the most highlyinspired representatives of heavenly art. In order, too, that the Bach Monument may be a lasting one for the most remote future, it is proposed to publish simultaneously a musical work—a Bach Album—in order to raise by its sale a permanent capital, and thus, in the interest accruing from that capital, to have a fund for maintaining the organ in order.

Donations of money accompanied by original compositions will be accepted with two-fold gratitude. In here returning my warmest and sincerest thanks to all those disciples and lovers of art who have already forwarded their contributions, I venture to express a hope that I shall soon behold all my other colleagues in art, embued with respect for the great master of tone, stretching out the helping hand.

Heink. Bern. Stade,
"Stadtcantor" and Organist.

q From the Neue Berliner Musik-Zcitung.
t The columns of the Neue Berliner Musik- ZeUung.

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