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MUSIC IN BERLIN. (From our own Correspondent.)

Meyerbeer's Feldlager in Schlesien, that tribute paid by the celebrated maitre to his native land, has just been permanently restored to the repertory of the Royal Opera House, which was crammed to the very ceiling-not a place to be had for love or money-on the first night of its reproduction. The opera, as most persons who trouble themselves anything about theatres in general, and opera houses in particular, are aware, was composed to inaugurate the present edifice, erected on the site of that which was burnt down. The libretto, written by the late Herr Rellstab, is a sorry affair. I should think that, when he read it, the famous composer of Robert and Les Huguenots must have sadly regretted that a certain author named Eugène Scribe was not, for the nonce, a German writer, with a little of his stage tact and powers of construction. But alas! such a thing could not be. Rellstab had, unfortunately for Meyerbeer, and for the public, to rely upon his own talent for libretto writing.

"Non cuivis homini contingit adire Corinthum."

It is not every writer, even though he be a celebrated critic, who can produce a livret like that of Le Prophète, La Muette, La Juive, or sundry others by the same author which I could mention, supposing I wished to convert this letter into a catalogue or index extending over a page or so, and did not mind writing away till about four p.m. The second act alone displays anything like dramatic interest, while the first and last contain absolutely nothing at all, and appear to have been written for the sole purpose, object, and aim of filling up the evening. When we take the above fact into consideration, we are all the more struck with the manner in which the composer has accomplished his part of the task; with the way in which he has been able to drape a by no means elegant figure, so as to make it appear perfectly beautifulfor no one can deny that in the Feldlager in Schlesien he has really achieved wonders. With the quick perception of a composer thoroughly acquainted with all the exigencies and requirements of the stage, he saw that, while the second act afforded full scope for his talent, the first and third acts depended entirely upon the assistance they might derive from the music alone. And how well has he accomplished his task! Vielka's two visions, and the grand scena with the tambourine song, may be regarded as perfect gems. While the light and graceful style of the French comic opera predominates in the first act, the music is purely German, nay, here and there, specially Prussian, in the second; it rises, also, to imposing tragic grandeur, and Prussia may proudly boast of possessing in the Feldlager in Schlesien a really national opera. Herr von Hülsen has done all in his power to render the revival as magnificent as possible, superintending the mise-en-scène himself. The whole execution of the work, musically as well as scenically (to coin a word for the occasion), affords irrefutable evidence of the care bestowed upon it, and will, as a matter of course, draw crowded houses for some time to come. Madlle Lucca sustained the part of Vielka, originally composed for Jenny Lind. It is always a difficult, and frequently an ungrateful, task, to play a part "created," as the French say, by a celebrated artist, who has not yet been forgotten, and the task becomes the more difficult the greater the difference in the individualities of the original and subsequent representative. Now, Jenny Lind and Madlle. Lucca are very different indeed, and, therefore, the latter was quite right in ignoring altogether the traditions handed down from the fair Swedish prima donna, and in following out her own original ideas. The readings of both ladies find their admirers. We may assert of Madlle. Lucca's "Vielka" that it approached more nearly than did Jenny Lind's the part which afterwards grew out of it in L'Etoile du Nord. It captivated the audience by its natural tone and youthful freshness; the vocal and dramatic elements were united in one harmonious whole, and the fair artist reaped a rich harvest of applause. The other parts served but to bring out more prominently that of "Vielka," but they were all admirably supported. The band and chorus went admirably under the direction of Herr Taubert, while the ballet considerably increased the general good impression. Four days after the revival of the Feldlager in Schlesien, we had a performance of Guillaume Tell, with a fresh cast of three of the characters. Herr Robinson played "Tell," but the music throughout was not suited to his voice, and he would do well to have it transposed, as was done by Herr Schober, who, by the way, was, I am given to understand. one of the best representatives of the part ever seen here. Madlle. Marcon, "Mathilde," was evidently indisposed, and omitted the by no means difficult air, "Du Stiller Wald." "Walther Fürst" was sung by Herr Blaha, a young man, who appeared on the stage for the first time. The part, consisting really only of a share in the grand trio for male voices, offers but little opportunity for display, besides which, "stage fright" exercised, doubtless, no small influence in preventing the débutant from giving his voice fair play, so that it is impossible to pronounce a definitive judgment on him until he has essayed some other characters. Herr Ferenczy, as "Arnold," had a wide field

for the exercise of his fine voice, and, on the whole, acquitted himself satisfactorily, although his efforts were still marred by certain defects of which he must rid himself before he can hope to be accepted as a finished vocalist of the first class. La Muette was announced for the 21st. On account of the indisposition of Mdlle. Marcon, however, there was some talk of changing the bill. In this dilemma the management applied to Mdlle. Lucca, who undertook the part of the Princess, "at the shortest notice," as outfitters promise to provide young gentlemen and others proceeding to India, Australia, etc., with every thing they can possibly require, from sea chests and flannel jackets, down to toothbrushes and telescopes. She performed her task in the most successful manner, not only proving that she is a thorough artist, but demonstrating, to the great satisfaction of the management, that, in a sudden fix," she is the most valuable working member of the company.

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A number of professionals and amateurs were lately invited to attend a matinée given at Herr Ries's, and got up to afford that gentleman's son, Herr Louis Ries, an opportunity of showing what progress he had made as a violinist in the capital of England. Of course, as you have had such frequent opportunities of hearing him, you do not require me to give you a criticism of his performance. I shall content myself, consequently, with stating that the compositions selected by him were Vieuxtemps' Concerto in A minor, and a "gavotte" by Bach, and that his execution of both met with the entire approbation of all present. Mdlle. Elise Harpp, a pupil of Herr von Bülow, performed Beethoven's Appassionata Sonata," and took part in Rubinstein's fantastic "DuoSonata"

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Herr Theodor Kullak, previously pianist to the king, has been appointed pianist to the Prince of Prussia. M. Meyerbeer has returned, and is gradually recovering from his present indisposition.

It will be a hundred years on the 5th October, 1862, since Gluck's Orpheus was performed for the first time. The performance took place in the Hofburg theatre, Vienna. Referring to this circumstance, your respected contemporary, the Neue Berliner Musik-Zeitung, makes the following remarks:-"Of all the operas which maintain their place in the repertory of the present day--for we must recollect how successful Orpheus has proved within even the last few years in Berlin and ParisOrpheus is the first which has had a continual anniversary. There was the greater reason to celebrate this important day, because, as we all know, it was with Orpheus that Gluck decidedly commenced the operatic revolutions which led to modern opera. With the centenary of Orpheus, we celebrate simultaneously the rise of that opera, which, combined with dramatic principle and truth of expression, first seriously discriminated between different individualities. The memorable event will be solemnized at the Royal Opera-house by a performance of Orhpeus and other special entertainments, but, as the 5th of October falls on Sunday, the commemoration will be held on Monday the 6th October, The management of the Royal Opera-house will increase still more the gratitude which every lover of the noble art will feel towards them for considering it a sacred duty to pay this tribute to the memory of Gluck, and of his first masterpiece, by the fact of their having successfully exerted themselves to prevail on Mad. Jachmann-Wagner to give, on the day in question, one more performance of Orpheus. The great artist who infused new life into Orpheus among us, and gave so ideal a representation of the hero, was the most fitting person to usher the immortal work into the second century of its existence." Now, with all that the Neue Berliner Musik-Zeitung says about the propriety of paying this tribute to Gluck and his chef d'œuvre, I cordially agree. But I cannot go into ecstacies about Mad. Jachman-Wagner's having been prevailed upon to appear once again in the character of Orpheus. Why the management should ever have thought of soliciting her to do so, I cannot imagine; or if, as is not improbable, they did no such thing, but simply acceded to a request made by the lady herself, I think them much in the wrong. Mad. Jachmann-Wagner may have a select circle of admirers who may welcome her re-appearance, even if only for a night, but it is very certain that the majority of the public is far from entertaining the same sentiments. Mad. Jachmann-Wagner has finished her career as a vocalist, and as a dramatic artist, pure et simple. She does not possess talent at all calculated to overpower any one, as she has sufficiently shown. This continual yearning to make "one last attempt" on the scene of her former triumphs is natural, and, indeed, pardonable on her part, but if the management show the same alacrity to comply with her wishes as they show on the present occasion, I fancy the public will take the matter up, and settle the question in a summary fashion, not over-flattering to the ex-prima donna. VALE.

ALBO NOTATA. We are informed that Gottschalk, the renowned pianist, realised at Saratoga, lately, by one concert, the handsome sum of 800 dollars, which he handed over at once to a committee for furnishing comforts to soldiers in the field. By a curious coincidence, the number 800 represents forty score, and it was by means of a piano-forte score that the pianist realised it. Let this act of the maestro be chalked, or rather Gottschalked, to his credit, on the canteen of every soldier in our army.-Vanity Fair.

MR. BOUCICAULT ON THEATRES.

THE following letter appeared in the Times of Thursday, to which we earnestly direct the attention of managers, and the public in general:

Sir,-Six new theatres have been constructed lately in Paris to replace six old buildings condemned by the Goverment; improved systems of ventilation and lighting have been introduced with marked success, and increased accomodation secured to the public. During the last seven years several large and commodious theatres, excelling in comfort and beauty any similar buildings in Europe, have been erected by private enterprise in the metropolitan cities of the United States. Why should the London public, that pay so liberally for intellectual entertainment, be condemned to suffer martyrdom in the dingy, stuffy, comfortless, ill-ventilated, worse lighted dens called "Theatres Royal" which disgrace this metropolis? The main objections to these buildings are the narrow, tortuous entrances, where a crowd endeavouring to obtain admission gets jammed closely. Crushed bonnets, torn coats, the screams of the women, the cries of the children, the objurgations of the men, and the remonstrances of the police, however pleasant to the managerial ear, afford poor tributes to the architect who contrived such insufficient approaches to the auditorium. Having struggled into the pit or mounted into the gallery, the audience fill the seats, the alley-ways, standing in dense masses, until every available spot is occupied. What would be the result of a fire, or of an alarm of fire, upon this multitude? Is it fair to entice two thousand human beings into such a man-trap, and leave them to the chance of so probable an accident? When the Legislature provides against overcrowding cabs, omnibuses, steamboats, and other licensed accommodations for public convenience, why should theatres be exempt from similar supervision?

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These matters may seem of small interest to the public, but they underlie important results. The heavy and useless expenses, and the waste attendant on the management of the great theatres, drove Mr. Macready from Coventgarden and Drury-lane; they sapped the fortunes of the Princess's under Mr. Charles Kean. The failure of these enterprises was said to be due to lack of It was want of a proper economy of the public patronage, it was not so. liberal patronage with which the London people never fail to reward merit in any form.

Let a party of a dozen gentlemen-I mean those who complain so constantly of the discomfort of the dress circle and the want of room in the orchestral stalls, subscribe and build a new and elegant theatre. Let them do something graceful for the pit and gallery, securing the people comfort, room, and air; and, if there be any modesty about starting such a subscription, I will give 5,000l. to begin with. Your obedient servant,

Theatre Royal Drury-lane, Sept. 29.

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DRAMATIC COLLEGE.

DION BOUCICault.

On Monday last the Dramatic College at Woking was the scene of a most interesting ceremony. Seven annuitants were formally admitted by Mr. Benjamin Webster, the Master, and his colleagues, as residents in the building, which, though not yet finished, is sufficiently complete for the commencement of charitable operations.

Arrangements have been made that each annuitant shall be provided with a suite of rooms, simply furnished with all the necessaries of life. Each has his or her sitting-room, bedroom, kitchen, and other useful offices, and is completely independent of the rest. In times to come there will be a central hall, to which all alike will be admitted, but the enjoyment of this additional luxury will be a matter of choice, and the occupant who wishes to enjoy the English privilege of regarding his house as his castle, may live-if he pleases-in perfect seclusion, and feel secure against invasion. The annuitants admitted on Monday were Messrs. Campbell, Eugene Macarthy, Starmer, and Henry Bedford, and Mesdames Shuter, Christian, and Rivers. To many London playgoers who are not very young the names of the gentlemen will be familiar; the ladies, we believe, are chiefly known in the provinces.

The room assigned to each individual in the audience is too small for comfort. The rows of seats are so close to each other that sufficient room is not afforded for the limbs of the sitter. No suitable provision is made for ventilation; thus in the upper tiers, especially in the gallery, the air is a sticky, fetid compound, the refuse of two thousand pairs of lungs and a thousand jets of gas. Behind the scenes there is neither ingenuity nor economy in the stage arrangments. There is a mass of rubbish called machinery in the barrel loft over the stage, and a labyrinth of timber under it. No provision is made for anything, nothing is where it ought to be, and everything is heaped into a mass of aged, reckless confusion. May we not hope that in some of the new thoroughfares now in contemplation more than one theatre will be constructed worthy of this metropolis? A large space will soon be laid bare in the Strand, near Northumberland-house. Here would be a most eligible spot for such an enterprise, and, if built with wide and commodious entrances, a well-ventilated auditorium, sufficient space given to each spectator-for a spectator is a human being, and not a sardine-the public voice would soon demand similar reforms in the old theatres. Those who regard this subject carelessly may consider that there are theatres enough in London; the public do not think so, and therefore music-halls are on the increase. The population of this city is now so great that even a moderately successful drama will run for six months, and The meeting was very select, consisting of the Master and his colafter one has seen Lord Dundreary, the Peep o' Day, Mr. Fechter in Hamlet, leagues, the annuitants, and a small body of friends, but, though the and the Colleen Bawn, months must elapse before any other novelty is forth-weather was detestable even for an English autumn, and the rain rattled coming. The audience claim some variety of amusement; our few theatres loudly against the canvass of the marquee, the demonstration of good failing to afford it, they seek the next best entertainment to be had. Without feeling and hilarity could not have been surpassed had the accessories criticising the performances at music-halls, few people would hesitate to admit to the festivity been perfectly unexceptionable. When the guests, who that if the Alhambra were another Haymarket Theatre, and the Oxford Hall had set down to table at 3, rose, late in the evening, they all felt they were another Princess's, the public would be gratified by the substitution of had partaken of one of the snuggest little banquets that were ever an intellectual for a sensual enjoyment. provided.

When the annuitants had been severally shown the apartments they were to occupy, they were conducted by the official dignitaries into a marquee, where an excellent collation had been provided by Mr. Benjamin Webster.

The entire cost of constructing and furnishing a theatre the size of the Hay- The speaking was remarkably good, the chief orators being Mr. market would be about 15,000l.; the rent of such a building varies from 3,500l. Webster, who proposed the health of the annuitants; Mr. L. Buckingto 4,000l. a-year. I pay at the rate of 7,8001. for Drury-lane. The Hay-ham, who toasted the officers of the College; Mr. R. Bell, who wished market was rented, I believe, for many years at 4,000l. a-year, and is worth prosperity to the Institution; and Mr. Creswick, who called down that amount now. The Princess's was let to Mr. Webster for 3,800l. a-year, blessings on the heads of the subscribers. The speeches were all and I understand he has sublet it for 4,100. A rent of 4,500l. was offered directed to the great end of elevating the dignity of the actor's profor the Adelphi. About 4,000l. a-year is paid for the Lyceum. It is an error fession, one speaker choosing the form of exhortation, another that of to presume that a great risk is attached to this species of property. No historical proof. Mr. Bell confidently pointed to the progress of the house-rents are paid with such regularity, and no buildings are so rarely with- actor's social position from the days when he was stigmatized as a out tenants. In most cases the rent is payable in advance, and in some leases vagabond to the present time, when (good conduct supposed) he is it is stipulated that all scenery, furniture, wardrobe, and accessories made in recognised as a respectable citizen. Mr. Webster congratulated the the theatre by the lessee become the property of the landlord. annuitants that they had found a home, and stated that nearly all of them had come to the asylum accompanied by a wedded partner. Mr. Creswick manfully repudiated the cringing position which theatrical artists had too often adopted towards their patrons, and declared that in his opinion they did not receive patronage without making a perfectly adequate return. The spokesmen on the part of the annuitants were Messrs. Campbell and Eugene Macarthy, and several gentlemen, who in various ways had been benefactors to the institution, were toasted with all honor. Among the facts stated in the course of the entertainment were the donation of 1007. from Her Majesty, mentioned by the chairman in proposing the usual loyal toast, and the gift of 2507. from Mr. Buckstone towards the building of one of the houses, recorded by Mr. Jerwood in returning thanks on behalf of the subscribers. Mr. Graves, of Pall Mall, had likewise contributed some engravings for the decoration of the rooms.

I plead, then, for the erection of a new theatre, wherein the public shall find combined the improvements of the American and French systems. Few architects have given special attention to theatrical structures, and I have never seen or heard of any engineering ability applied to stage machinery. Some estimate may be formed of the working order of a London theatre by comparing it with an American theatre under precisely similar conditions. In 1859 I built in New York the Winter Garden Theatre, capable of containing 2,500 persons, being very little less than the capacity of the Theatre Royal, Drury-Lane. With the same entertainments as at the Adelphi Theatre, the Winter Garden consumed 20,000 feet of gas per week; the Adelphi consumes 100,000. The number of carpenters required to work the stage in London varies from 20 to 30; in New York the same work is done by six. employ five or six gasmen; there the same work is well performed by a man and a boy. While in management at the Adelphi Theatre I saw three men

Here we

A CONSPICUOUS NUISANCE.

THE music-shop windows afford a gratuitous Exhibition of very peculiar works of art. These are the pictures which adorn the backs and illustrate the contents of the music books. There is somewhat in the best of them that is considerably repulsive, yet they are not altogether and simply disgusting. The pretty men attired in the height of evening dress, or brilliant fancy costume, and the fashionable ball-room beauties or stage heroines, represented as combining with them in elegant positions, are too absurd to excite unmitigated abhorrence. They are ludicrous as well as offensive. The inanity with which the epicene warriors and ruffians are depicted knitting their brows, and trying to look fierce, and the vacuity expressed in the faces of their gesticulating female associates, suggests that their originals were animated dummies, actuated solely by the love of displaying their clothes. The dancing dandies and their blooming partners look like ideal portraits of tailors' wax-works endowed with semi-consciousness. The imbecility of these figures is transcendent; its delineation evinces a genius of a sort; it amounts to the sublime and something more: and is so ridiculous as to provoke our disdainful laughter.

Among these illustrations in the music-shop windows there is one, however, that causes no laughter whatever, although it exhibits a laughing face. But the laugh is a horrid one, and the face is that of a man with long whiskers, who is dressed in a lady's clothes. There is not the least fun in this laughing face, but it wears an expression that is unspeakably odious. This print is entitled Lady Dundreary, and the less besides that we say about it the better. -(From Punch).

THE Islington Times of Sept. 20th, has a notice of the Quarterly Soiree of the Barnsbury Literary Institute, which took place at Myddelton Hall, from which we make the following abridgement:The Quarterly Soiree of this Institute was held on Friday, 12th September, under encouraging circumstances. The chair was taken by the president, Mr. J. R. Macarthur. He briefly alluded to the occasion of their meeting, bespoke the attention of all present to the artists who would appear before them, and claimed their generous sympathy and encouragement for any aspirants, who might, through their desire to please, have overestimated the probabilities of success. He referred with pride to the fact, that only a fortnight ago, an Amateur Concert had been arranged by the members and friends of the Institute, and now they had filled the programme for this evening, without trespassing on one of those ladies and gentlemen.

Miss Marianne Warren, the pianist, whose even and effective style of playing draws crowds around her under the eastern dome of the Great Exhibition, charmed the audience with a selection from Maritana which was received with loud approbation, and calls for an encore, which the talented artiste gracefully acknowledged. Later in the evening, Miss Warren played Thalberg's Variations on "Home, Sweet Home," and received similar marks of applause. Mr. Willis followed with the song "Our Steel-clad Ships." Miss S. Charlotte Ellerie, (introduced by the chairman as a young lady, but an old friend of the Institute) was received with a hearty welcome, and sang very pleasingly "Chacunle, sait," and in the second part, "I'm a merry Zingara," and received much applause. Mr. George Hayles recited a selection from "Luke the Labourer," with dramatic effect. Mr. Henry Lawrence was very successful in the songs, "The Village Blacksmith," and "The Redcross Banner. Miss Jessie Ross (a pupil of Mr. Jules Benedict), played a Fantaisia, which elicited a burst of the heartiest applause, which brought the young performer on to the platform again. In the second part Miss Ross played Fowler's Grand Fantasia on Der Freischutz with equal effect. Miss Jenny Laurendelle, sang "Comin' through the Rye," And Miss Lizzie Wilson sang "The Forsaken," and "Far down a valley," in a most artistic style, calling forth great applause. Mr. Richard Travers recited one of the elder Mathew's famous pieces, "The Bashful Man," amidst loud plaudits. Miss E. H. Jameson, one of the earliest members of the Institute, was very successful in "I'm alone," and "Take this Cup of Sparkling Wine," and was loudly applauded as she quitted the platform. Mr. George J. Dawson, the popular elocutionist, recited "The Captive,” by "Monk" Lewis, and was recalled, want of time only preventing an "encore." The audience had a crowning treat in the singing of Mr. David Lambert, of the Chapel Royal, Windsor, and principal basso at the York and Durham festivals. Mr. Lambert sang the favourite old song, "The Holy Friar," with a distinctness and purity of voice that enraptured the audience; seldom have we heard a more hearty recal. Mr. Lambert complied with "The Bell-ringer," and again was rewarded with unanimous applause. In the second part, Mr. Lambert gave a rollicking song from the opera

of The Merry Wives of Windsor, "Nicolai," in excellent style, exhibiting the powers of his voice in a remarkable degree.

A very hearty vote of thanks to the ladies and gentlemen who had so well entertained the members and visitors, was passed by acclamation. The Committee may well be proud of such supporters, many of whom had come several, one above twenty, miles, to give their assistance on this occasoin.

On Friday, the 10th, John Noble, Esq., delivered a lecture on “The Life and Poems of Thomas Hood."

FRENCH ANECDOTE OF PIATTI.-The following, more amusing than "important if true," is translated for the Musical Review and World :—

Léon Escudier, editor of the "Art Musical," gives in that paper extracts from his as yet unpublished book "Mes Souvenirs," consisting principally of recollections of the artistic world; and, among others, he tells the following anecdote of the youthful days of Piatti, who is the first violoncellist in London, and equally well known for his virtuosity and the incomparable goodness of his heart.

Poor Piatti, writes Escudier, is a victim to his own generous hospitality. On the day of his concert, and for some days after, he is accustomed to share his quarters with some eminent artist, whose talent is pledged to assist him. But he is not always so fortunate as to find these brother artists quiet sleeping companions.

The first year he had Ernst with him; the concert was over, Piatti tired, and he lay down; resolved to sleep. But just as he was falling asleep, he heard a trembling, a grinding of teeth, and groaning, as though some one was on the point of suffocation. He rose, and found his comrade in a nervous fit; he did not dare to leave him in order to seek assistance, and therefore gave him all the care and attention possible; but the attack was an obstinate one, the patient was first better, then worse, and so on-in short Piatti was up for the whole night. At length the sick man was quieted, but morning had already dawned, and Piatti was obliged to go out.

The second year Wieniawski assisted him.-Piatti examined the new artist with a penetrating glance, before inviting him to share his chamber; this glance gave him the certain assurance that Wieniawski could not possibly be subject to nervous attacks. After the concert, as soon as they had taken a glass of punch, to assure themselves of a sound sleep, Piatti wished his friend good night, and fell asleep. Wieniawski took a second glass of punch, however; perhaps more; certainly more than was good for him; he began to feel anything but well; he woke Piatti; his indisposition grew worse and worse; again poor Piatti had a sleepless night.

me.

The third year it was Sainton's turn. The following conversation took place between Piatti and the new comer: "Do you suffer from your nerves?" "Never. What makes you ask such a question?" “Oh, I only asked. Are you ever, ill in the night?" "I sleep like a dormouse," "So much the better. And I would advise you not to drink anything before sleeping. Spirituous drinks are very dangerous in the English climate." "I only drink at table." "Then you shall sup with I know what agrees with you." Piatti arranged the bill of fare; it was an anchorite's meal. Sainton slept soundly, too soundly.-The unlucky Piatti tried to awaken him several times, but his efforts were vain. He could not close his eyes; his friend Sainton snored like a saw-mill. It sounded like half a dozen contra-bassi in unison. The fourth guest was Sivori. Sivori did not snore; he never had attacks of the nerves, and never drank punch. Piatti hoped for a sound sleep, and began to enjoy one; but about three in the morning, the buzzing of an enormous fly awoke him. He drew the coverlet over his head, but the humming grew louder. He sighed; he tossed about; at last, out of patience, he rose and struck a light, in order to drive out the tiresome fly. What did he behold? Sivori sitting up in bed, with his nightcap on, practising a trill on his violin, con sordino?

It was ordained that Vieuxtemps should break the spell. With what fear and trembling Piatti extended his hospitality to him! But he did not repent it this time. This time, it was the guest who could not sleep. Poor Piatti dreamed of nervous fits, of punch, of great organ pipes, of violins playing endless trills; he had a terrible attack of nightAnd I believe he has given up his former hospitable habits.

mare.

PENZANCE CHORAL SOCIETY.-At the next Concert, which takes place the 20th October, Professor Bennett's "Inauguration Ode," also Mr. Henry Leslie's cantata, "The Daughter of the Isles," will be performed. Conductor, Mr. John H. Nunn.

THE LILY OF KILLARNEY.-The German papers announce that M. Benedict's Opera, translated by Herr Dingelstadt, will be brought out at several theatres under the title of the Rose of Erin.

POPULAR SONGS, &c. FROM THE NEW OPERETTA,

TESTIMONIAL TO A MANAGER.—A Testimonial, in the shape of a handsome Silver Tea and Coffee Service, with Salver, has been lately

presented to Mr. Henry B. Webb, Lessee of the Queen's Theatre, BLONDE OR BRUNETTE,

:

Dublin. The following inscription was engraved on the Salver:"Presented to Henry Berry Webb, Esq., Lessee Queen's Royal Theatre Dublin, from a few of his private and professional friends and admirers, as a slight token of their esteem and regard.-27th August, 1862." Mr. J. J. Cunningham, at the meeting held at Jude's Hotel, was in the chair, and in an excellent speech, proposed the toast of the evening, saying, "It was only necessary to mention Mr. Webb's name to ensure a cordial response. He had resided among them some years, and had conciliated and won the respect and esteem of all who knew him, and had proved himself a judicious and worthy caterer for the Dublin public, &c." Mr. Grice, Honorary Secretary to the Testimonial Committee, then read an address, in a portion of which he commented on "Mr. Webb's urbanity of manner and upright conduct, both in private, as a friend and gentleman, and in business transactions, as a manager." Mr. Webb, in expressing his thanks, said that the Testimonial became of superlative value, as being symbolical of the respect entertained for him, and the more so, in view of the sources from which it emanated. He could not forbear to mention, that his brother actors, both here and in England, had united with the gentlemen of the Committee, and had proved by their subscriptions how

Upwards of 200 gentlemen

much they sympathised in that object. had testified their opinion of him, as 66 a man of energy, industry, and integrity." He was very proud of this endorsement of his character, and trusted to hand it down to his children, as a most precious heir-loom. In concluding a feeling and admirable speech, he expressed his heart-felt gratitude and pleasure.

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ANNALIE
SOMETHING TO LOVE. Soprano.
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KEEPER, TAKE THIS RUBY RING. Duet

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THE JOLLY BEGGARS.

WHEN I BADE GOOD-BYE TO PHOEBE. The Popular Song from G. LINLEY's successful Cantata, "The Jolly Beggars," in A and C ...

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HATTON'S NEW SONG,

CHILDREN." Words by LONGFELLOW. Sung by Miss

RINLEY RICHARDS.-WARBLINGS at DAWN..

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CHILDI

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THALBERG'S NEW COMPOSITIONS.

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MAGGIE LAUDER, Transcribed for Piano, by W. MELODIES OF SCHUBERT.—Transcribed for the

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2s. 6d. "O! rosy morn," 2s. 6d. "Like a well-spring in the desert," 2s. 6d. "O! sweet-flowing streamlet," 2s. 6d. "Bird Song," 2s. 6d. (Poetry of all these by Geo. Linley). "Oh! ye tears" (Poetry by Chas. Mackay), 2s. 6d. "Kathleen aroon" (Poetry by Mrs. Crawford), 2s. 6d. "The dear old songs of home" (Poetry by Mrs. Fenton Aylmer), 2s. 6d. "Farewell, my Fatherland" (Poetry by J. E. Carpenter), 2s. 6d. "Wood notes," four-part song, separate parts, 2s. "Good morning," "My heart replies," 28.

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SPANISH NATIONAL HYMN

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KING OF ITALY'S MARCH

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CHREUDES CHASSEURS

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LA CHASSE DE COMPIEGNE

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ROSALIE THE PRAIRIE FLOWER

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METZLER & CO.

37, 38 & 35 GREAT MARLBOROUGH STREET, W.

AND

PIANOFORTE AND HARMONIUM WAREROOMS AT No. 16.

Published this day.

A NEW EDITION OF THE PIANOFORTE

STUDIES

BY

STEPHEN HELLER,

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.

"STEPHEN HELLER."

THE EDITION CONSISTS OF FIFTEEN BOOKS, PRICE SIX SHILLINGS EACH.

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New Series. Price 3s. each.

No. 13. Serenade from "Il Barbiere."

14. Duet from "Zauberflöte."

15. Barcarole from "Giani di Calais."

16. "La ci darem," and trio, "Don Juan."
17. Serenade by Grétry.

13. Romance from "Otello."

"Among the hitherto unknown compositions were some selections from the Art of Singing applied to the Piano,'Transcriptions' of Operatic Melodies, arranged in M. Thalberg's ornate and elaborate manner, invaluable to Pianists who believe that the instrument of their choice can, under skilful management, emulate the violin itself in the delivery of cantabile passages.-The Times.

BOOSEY AND SONS, HOLLES STREET.

FOR
OR ORCHESTRA.-MEYERBEER'S GRAND

Price 125

Also AUBER'S GRAND EXHIBITION MARCH, for Orchestra. Price 7s. 6d.
BOOSEY & SONS, Holles Street.

SIGNOR GARDONT'S NEW SONG, "Pourquoi."

Sung by SIGNOR GARDONI at the Concerts of the Nobility during the present Season, with immense success. Price 2s. 6d. BOOSEY & SONS, Holles Street.

IMS REEVES' NEW SONG, "She may smile on success. Encored on every occasion. Price 3s.

OZART'S

MOZA

BOOSEY & SONS, Holles Street.

DON JUAN. 9s. BOOSEY & SONS' Now Edition, complete, for Voice and Pianoforte, with English and Italian words. The whole of the Recitatives and Notes of the Author's Instrumentation. Price 9s. In cloth (400 pages).

This splendid Edition, the best and cheapest ever published, of Mozart's grest work, should be in the hands of every professor of music. Also Figaro, 95. Zauberflöte, 58.

JOSEPH

BOOSEY & SONS, Holles Street.

OSEPH GODDARD'S PHILOSOPHY OF MUSIC.
Price 7s. 6d. (To Subscribers, 53.)

BOOSE

BOOSEY & SOxs, Holles Street.

OOSEYS' SHILLING MESSIAH, complete Vocal Score, with Accompaniment for Pianoforte or Organ, demy 4to (size of “ Musical Cabinet"). Price 1s.-BOOSEY & SONS have much pleasure in announcing their new Edition of the "Messiah," printed from a new type, on excellent paper, and in a form equally adapted for the Pianoforte or the Concert-room. The text revised by cheap music, this book is quite unprecedented, and it is only in anticipation of the G. F. HARRIS, from the celebrated Edition of Dr. JOHN CLARK. As a specimen of universal patronage it will command at the approaching Handel Festival the publishers are able to undertake it. Orders received by all Booksellers and Musicsellers. Post free, 1s. 4d. An edition in cloth boards, gilt, 2s. BOOSKY & SONS, Holles 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 Joun Booser, at the Office of BOOSEY & SONS, 28 Holles Street.-Saturday, October 4, 1862,

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