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will soon learn."—Fortunately, in the Italian company of the Theatre de Monsieur, Martin found models and masters, whose lessons were of more use to him than his Uncle's method.

When Darhoville, in consequence of his throat complaint, was compelled to relinquish his brilliant career, he returned to Marseilles, where he still continued popular in vaudevilles—where to ling is not absolutely a sine gua non.

Mad. Alboni.—The statement which appeared in several French journals (and was copied into the London Athenseum) about Mad. Alboni'a projected retirement after one more season's professional exertions, is—we hear on the best authority—without foundation. Tanto meglio. The operatio stage can ill afford to lose so accomplished and legitimate a singer—in the very prime, too, of her voice and powers.

Herr Joachim, we are informed, will pass the winter in London. Dtslo besser. We shall hear the "last quartets" of Beethoven at the Monday Popular Concerts.

Royal Academy Of Music.—At a meeting of the directors of the Royal Academy of Music on the 17th of September (Sir George Clerk, bart., chairman) Miss Leila Aylward, of Salisbury—late student—was created an associate of that institution.

St. James's Hall.—The concert of Welsh National Music, with Band of Twenty Harps, aud Chorus of 400 Voices, will take place at St. James's Hall, on Thursday evening next. The performers on the Harp will include the names of the most celebrated artists in London. The Chorus will consist of the Members of the Vocal Association and the Royal Academy of Music, under the direction of Mr. Jno. Thomas (Pencerdd Gwalia.) Altogether a great musical treat may be expected

LETTERS TO THE EDITOR.

LORTZLNG'S DIE ROLANDSKNAPPEN.

Sib,—As a rule the critical remarks of your Berlin correspondent are impartial and just. In the case of Lortzing's opera mentioned above, the contrary is the case. A minuter knowledge of facts would much have modifed the opinions to which he gave expression in your last number. It is generally conceded throughout Germany that Lortzing's operas, if they live at all, will live solely by the virtue of the national character of his melody, and as your correspondent observes "by an adroit employment of Btage effects." The fact, however, of a revival, after a long lapse of years, of a work very little known is a proof that this particular opera at least contains " mettle more attractive." To the opinion of your correspondent that "It does not contain a single number which will live" time alone can give answer. That Lortzing wrote it solely from a desire pecuniarily to profit by it, I cannot quite believe. Goodness knows, the poor man was sorely straightened in Ilia circumstances, not only when he wrote that opera, but all his life. The same sweeping remark is therefore equally applicable to all he wrote, and yet it would be assuming a great deal to say the opera Czar ind Zimmerman was dictated solely by a mercenary spirit. It holds its own to this day, and there are few musical families in Germany, where the really clever songs and concerted pieces from this opera are not sung with increasing delight. It is to me a wonder' that none of our enterprising publishing firms have as yet turned their attention to the subject. Poverty was poor Lortzing's bite noire, and against it he struggled bravely to the last. Still, I believe, in fact the testimony of his letters is sufficient to prove, that his whole soul was filled with all that is noble and elevating in art, and that his highest ambition was to add one ■tone to the noble superstructure of thoroughly German operatic art.

One word as to dates. The opera was composed in 1849 not '47, and was first performed at Leipzig, on the 25th of May, in the former year. It was never performed at Vienna.

Brighton. Jons Towebs.

THE BRUSSELS CONSERVATOIRE.

Sir,—I should feel obliged by you informing me if there is an Academy of Music in Bruxelles, and what the terms are, also what language they speak there, German or French. I am, yours respectfully, A Subsohiber, Liverpool.

[Our columns are open to any communication on the subject of "A Subscriber's " query.—Ed.J

ORCHESTRAL BALANCE OF POWER.

Sib,—In none of the works studied by me, have I met with any fundamental reason, for the scientific quantities of instruments necessary to form a perfect orchestra.

I am informed by various accepted authorities, viz., Berlioz, Fe'tis, Momigny, <fec, &c, that it is essential to have " string, wood, and brass instruments," in certain numbers each, to form a model orchestra, and to perplex the reader, each propounder varies in his given proportions! unfortunately they all forget—or decline—to assign any reason or reasons why such proportions are given, and so leave entirely unknown any settled rule, by which the relative proportion of sound, of the several parts of an orchestra, can be known or balanced. To enlighten my darkness on this subject, will you, or any of your scientific readers, please to tell me,—what the proportionate weight of tone is given from a G bass trombone, as compared with the weight of tone given from a D concert flute, both instruments being played fortissimo t

After this;—How many D concert flutes would be required, to evenly balance the power, or weight, of tone given out by the said a bass trombone? again,—How many violins would be required, to exactly counterpoise the weight of tone, thrown out by the given number of D concert flutes, and G bass trombone combined? and finally,—How would a solitary oboe be affected, in proportion, presuming all to be tutti fortissimo f

My gratitude will be unbounded, by learning the authority consulted, to clearly enable a positive answer to be given to the questions here propounded, so that I may enrich my library (if published), with the work, and commence forthwith to study the (to me) new science of "ponderosity of 60und," as applicable to " ensemble " playing. Apologising for the length of my note, I am Sir, yours truly,

Mabtinus ScRIBLEBl'S,

EuU, Oct. 7th., 1862.

GLUCK UND DIE OPER.

But, —Referring to Mr. Towers' communication on the above subject published in No. 88. of your journal—permit me to state that I have in my possession Seven songs of Klopstock's, the music by Gluck. These songs were given some 30 years ago as supplements to articles on Gluck in the Musical Paper "Iris," edited by Ludwig Rellstab and published by Frautwein of Berlin.—This I think will be sufficient proof that Petis' statement was much nearer to the mark than that of Saliere, if I am right in presuming that the terms "Odes" and Songs, are synonymous. I think it quite possible that Fe'tis might have been correct in stating eight songs, as I am not at all certain but that I may have lost one during the lapse of years—though this is a point, I imagine, that can easily be cleared up through Hoffineister'a Handbuch der musikalischm Litteratur.

• I remain, Mr. Editor, yours obediently,

Db. Febwnand R.UILE3,

13 Albert Street, Camden Road, October 7,1862.

Swansea.—M. Thalberg's Concert, given on Monday night, was a great treat to all lovers of music. It would be useless for us to pretend to criticise the performance of so great and well known a musician. There is perhaps no man living who can so illustrate the power of an instrument, and we need not say that the execution is marvellous. Player and instrument seemed to have some subtle relation existing between them, and to become part of each other, However complicated the accompaniment, or strange the variations, the air was plainly manifest throughout, like a jewei shining clearly from a richly chased and massive setting. M. Thalberg's mastery of the instrument is to the uninitiated something incredible. Massive chords subviding in a moment into softest harmonies, and again a mere ripple of sweet sounds swelling into a grand volume of majestic tones. We shall not attempt to criticise in detail, and only add that the room was tolerably full, and that Mr. Brader's changes in the way of accomodation were a great improvement. One thing more, by the way, w» must mention, and that is. that on such occasions those who go for some other object than to hear the music, would do well to abstain from idle talking, which distracts the attention of real lovers of the art.

Leipzig.—The Bach Society have issued the 11th annual instalment of their splendid edition of the works of John Sebastian Bach. It consists of two volumes. The first contains a Magnificat in D major, with inserted pieces; a Sanctus in C major; a-second Sanctus in D minor; a third in D major, and a fourth in G major. The second volume contains vocal Chamber Music, including The contest between I'hcebus and Pan (Dramma per Muska); three Cantatas for a single voice, and an occasional piece jEolus pacified.

Salzburg.—A complete catalogue of all the manuscripts of Mozart, and of the relics of him deposited in the Mozart-eum, has been published by Carl Morse.

ENGLISH OPERA COMPANIES.

(From the Literary Budget.)

"II y a fagot et fagot" according to the illustrious Sganarelle, and there are English Opera Companies and English Opera Companies between which there is scarcely any resemblance beyond the name. There were two English Opera Companies thirty years ago, one of which performed at Covent Garden, the other at Drury Lane, and both of which massacred Meyerbeer.s Robert le DiabU in the most barbarous manner. In one of these English versions of Meyerbeer's masterpiece, the part of Raimbaut, afterwards undertaken by Kignor Mario, was assigned to Mr. Keeley. Whether Baimbaut's music was sacrificed to Mr. Keeley in his capacity of humorist, or by Mr. Keeley in his capacity of vocalist, we have never heard, but the fact of such a part being given to him at all is enough to show us how operas were got up on the English stage in the year 1882. We have advanced considerably in operatic matters since then, and we are indebted for this progress, first to Mr. Bunn, whose silly librettos (not sillier, however, than those which are written in the present day), may be pardoned him in consideration of the number of original operas by Balfe, Wallace, Macfarren, Benedict, and others, which he produced during his management of Drury Lane; and secondly to Miss Louisa Pyne and Mr. Harrison, who, during the last seven years, have continued Mr. Buna's system—in many respects, have improved upon it. Mr. Bunn had an excellent musical conductor in Mr. Benedict, but we believe his orchestra was inferior to the one over which [Mr. Alfred Mellon rules. This much is quite certain—that Miss Louisa Pyne did not belong to Mr. Bonn's company, and Miss Louisa Pyne is the great strength of the English Opera Company now established at Covent Garden.

But we were speaking of companies. Besides the English Opera Company now in full work, there is an English Opera Association which exists only in advertisements, but which, we are told, is to break out into actual theatrical life before the end of the autumn. The promoters of this enterprise seem to labour under the delusion that at present we have no English Opera at all. They speak of establishing one, as if there were somo novelty in the idea, and as if, during the last seven years, they had never heard of the doings of Miss Louisa Pyne, Mr. Harrison, and Mr. Alfred Mellon, and of the numerous original works which have been produced with such remarkable success under their auspices. However, the English Opera Company, whatever its acquaintance with passing events may be, is said to have already taken Her Majesty's Theatre, and to have made some arrangement by which Mademoiselle Titieus' services arc to be secured for tht winter months. If it has really engaged Mademoiselle Titicns, whose merits Mr. Mapleson in no way exaggerates when he calls her, in his advertismcnts, the greatest dramatic singer living; if it engages Mr. Sims Reeves, incomparably our best tenor, and one of the few good tenors still left in Europe; if it engages Madame Lemmens Sherrington, one of the most brilliant " light sopranos" of the day, then we really cannot see how, with common prudence and discretion in the management, success is to be avoided. According to the present beautifully unsettled state of the English law, anybody may play any foreign, ami a great deal of English music anywhere without having anything to pay for it. When an English manager offers M. Meyerbeer or M. Auber a certain sum for the right of performing Dinar ah or Fra Diavolo, he merely offers an honorarium; strictly speaking, there is no "right" to sell, and therefore none to buy. It is true that Mr. Gye, in bringing ont the two operas just mentioned, arranged with the composers to supply him with some additional music, but even this additional music, expressly ordered by Mr. Gye, and by him paid for, is at the mercy of any manager of a theatre, tavern, ormusic-hall, who may choose to have it executed or murdered on his premises. Piratical directors may seize foreign music wherever and under whatever circumstances they find it; though in the case of English operas the music is protected by the drama. Le pavilion couvre la marchandue — the flag that protects the operatic merchandise being the libretto, which, worthless as it may appear, is really so much property. The music of Lurline, for instance, may be played anywhere, but not in connexion with the piece. The piece is something solid and palpable; and music is essentially unsubstantial, and what becomes of it is thought equally immaterial. De minimit non curat lex, which, musically interpreted, means that the law cares nothing for crotchets and minims.

Although, then, there are a certain number of English operas which the managers of the Royal English Opera are alone entitled to perform, all managers have the right of poaching over the whole of the rich domain of foreign opera; and there are, moreover, many English operas which are the property of musicpublishers, who will gladly allow them to be performed for nothing at any theatre, knowing that each new performance of an opera is a fresh advertisement, on a large scale, for the music which it contains. Accordingly, the directors of the new Opera Association will have no trouble in forming a repertory of English works, and of foreign works translated into English. Moreover, some half-dozen English composers are known to have operas finished, and ready for production; and it will be very easy for any manager of a well-conducted opera-house to secure the privilege of bringing out three or four of the number,

The weak point of the new enterprise is to bo found, not in what the company proposes to do, but in the manner in which it proposes to do it. That is to say, the weak point is the company itself. It is a very easy thing for an

to manage the affairs of a railway, because the directors have no ambition to become stokers, porters, clerks, or even engineers. The general business of the company is managed, and the important appointments made, by the directors in common, who have seldom any technical knowledge or predilections, but who, as men of the world, know what the capabilities are of a Stephenson, a Locke, or a Brunei. In the same way, we think, if the hazardous experiment of establishing an Opera on the joint-stock principle is to bo made at all, that the directors of the company ought, above all, to be men of the world, with about as much and as little knowledge of music as educated men of the world usually possess. We know more then one mnsician who is sincerely of opinion that he is a man of genius, when he scarcely possesses even talent, and who believes that one of his unpublished operas would be sure to make the fortnne of any theatre; whereas, in all probability, no theatre could afford to perform it six nights iu succession. A man of common sense, and of ordinary worldly experience, would know how to estimate such a composer, not that he would be able to form any opinion in a direct manner of his works, but he would be able to consult experienced musicians, having no interest, on* way or the other, in their production, and from their verdict, and from other facts, such as the success or non-success of previous compositions from the same pen,—would be able to form his opinion on very solid grounds. Of course no system of management can be devised under which a composer cf great original genius may not fail to get a hearing, and a composer of no merit tt all succeed in making himself heard; but as a general rule, we are convinced ahat operatic managers—above all, when there arc many of them—ought to be neither composers nor singers. The great danger of Mr. Boncicanlt at Drury Lane is, that he will always prefer his own pieces to those of other authors, while we know from experience that his own pieces are not by any means invariably successful. The weak point in the management of the Royal English Opera lies in one of the managers being a popular tenor, and in his consequent inability (as tenors arc constituted) to prevail upon another popular tenor (who knows also how tenors are constituted) to accept an engagement at his theatre. Two first tenors, one the employer and the other the employed, could not possibly exist side by side. If the employed proved sufficiently attractive to deserve the very high salary which he would require, the employer's feelings would be hurt. If, on the other hand, he obtained no very remarkable success, the employer would feel hurt through his pockets. To be plain, as long as Mr. Harrison is one of the directors of the Royal English Opera, we may be sure that Mr. Sims Reeves will never sing there; and if Mr. Sims Reeves were to become one of the directors of the English Opera Association (to put a purely hypothetical case), it is equally certain that Mr. Sims Beeves would wish to reign Bnpreme on his own boards, even though a greater tenor than Sims Reeves should arise in the land.

Of course, if the composers, singers, and musical conductors who have takca shares in the English Opera Association are not as other men, we have nothing to say except that their enterprise will probably be attended with success, for there is certainly a sufficiently large musical public in London to support two musical theatres for a few months iu the winter. But if the musical shareholders wish to become directors, as Bome of them already are, we know what the directors who are composers will aim at, and we can also guess the views of directors who are singers and musical conductors. The result will be that conductors, principal singers, and composers will all be managers, that t will be no management, and that the whole affair will be i

Mademoiselle Patti is still on her provincial tour. Since performing at Manchester she has given concerts at Plymouth, Brighton, Hyde, &c, &c.

M. Tii.ii.nr.no is also in the provinces, and we believe intends that his pianoforte shall be heard in every part of the United Kingdom. Few itinerant musicians have been more successful in Great Britain than M. Thalberg.—Litirary Budget. .

Mdlle. Titieks.—" Many-tongued" rumour is exactly three-tongued just now on the subject of Mademoiselle Titiens and her coming engagements. One report says that the Oerman prima donna is to be the chief ornament of the eminently English company which the Opera Association promises to bring together. A second speaks of her performing, during the next few months, at Her Majesty's Theatre in Italian opera. A third has already taken a place for her on a steamer about to leave Liverpool for New York. Basing our calculations on these three reports, it is consoling to think that the odds aro just two to one against Mademoiselle Titiens leaving England.

Mb. Aptommas—who, it may be remembered, gave a series of '• Harp Recitals" in London, during the past season, with great success, has been making a " tour " of the provinces. Among the places he has visited are, Canterbury, Tunbridge Wells, St. Leonards, Itamagate. Deal, Dover, and Folkstone—at each of which his performances were receivedwith great favour.and attended by "theelite" of the inhabitants.

RITORNELLE.—(ichantiUon.)'
Oh, happy he, when storms are roaring,

Yet not so dark but one may see
Such pleasant neighbours, fast approaching,
By their features, brigands three.

From FitzbalTi Crown Diamond*.

ROYAL ENGLISH OPERA. There is no lack of activity in the English management of Covent Garden Theatre. The revival of Fra Diavolo, was followed on Saturday week, by the revival of Mr. Balfe's new opera the Puritan's Daughter, one of the great successes of last season. The.cast comprised, as before, Miss Louisa Pyne, who hag recovered from her indisposition, Mr. W. Harrison, and Mr. Santley ; and was further strengthened by the accession of Mr. Weiss, who for the first time sustained the character of Wolf. The performance, which took place in presence of a numerous audience, was most satisfactory. I"he opera has been given three times this week.

Organ At All Saints.—Out of an immense number of Candidates Mr. G. B. Allen has been selected for the appointment of organist and choir master at All Saints, Notting Hill; lately vacated by Dr. Gauntlett.

New Organ Fob Armlet Church.—On Friday evening week, a special service was held at Annley Church, near Leeds, Jwhen a new organ, built by Messrs. Badcliffe and Sayar of this town, was drily opened by Mr. W. J. Prichard. The organ is not large, but it is in every way adapted for the church for which it was built. There is considerable power in the great organ, combined with judicious variety and excellence of tone; whilst the Swell stops are singularly sweet, and admirably suited for combination with the great organ, although we should have preferred fuller reeds than the builders have made. We append the specification :—Great Organ—CC to F. Large Open Diapason, 8 feet; Small Open Diapason, 8 feet; Stopped Diapason (Chimneyed), 8 feet; Dulciana, 8 feet; Octave,4 feet; SuabeFlute, 4feet; Twelfth, 3feet; Fifteenth, 2 feet; Mixture, 8 ranks j Trumpet, 8 feet Swell Organ—Tenor C to F, Lieblich Bordun, 16 feet; Stopped Diapason (metal), 8 feet; Open Diapason, 8 feet; Octave, 4 feet; Horn, 8 feet; Oboe, 8 feet. Pedal Organ—CCC to F. Open Diapason (wood), 16 feet; Bordun, 16 feet tone. Couplers—Swell to Great j Great to Pedal; 3 Composition Pedals for Great Organ. A public performance was given on the instrument by Mr. Prichard in the factory of the builders, a few days previous to its permanent erection at Armley, on which occasion a very favorable impression was created amongst the professional and amateur musicians present. Last evening, in addition to the interest attached to the opening itself, a new anthein, composed by Mr. Prichard for the occasion, drew a large number of musical persons together. The composer is well known as a talented musician—his extemporaneous playing on the organ being of a very high order. This anthem, however, is the first piece of any importance that Mr. Prichard has written, and it fully bears out the opinion formed of his inventive powers. The words are selected from the Book of Job and the Psalms, and the anthem, which occupies about twenty minutes in performance, is a work exhibiting not only very great talent, but a true appreciation of the words to which the music is written. The choir, strengthened by a few voices from the parish church, sang exceedingly well; indeed, the entire service was admirably performed. An appropriate sermon was delivered by the Rev. J.B.Grant,B.A., of Okenhope, and a collection was made. After the service, Mr. Prichard played a selection of pieces, displaying both the excellent qualities of the organ and his own talent as a player.—Leeds Express.

Boston, (massachusetts).—The Mendelssohn Quintet Club have returned to Boston, after an absence of six weeks, during which time they performed at several "College Commencements" in Vermont and New Hampshire. The last three weeks of their vacation (not an idle one) were spent among the White Mountains, where they not only enjoyed themselves, but charmed the audiences assembled in the large hotels. The leader of the "Orpheus"—as much a lover of nature as of music, like every true German—tells us he met them coming over the summit of Mt. Washington. Beautiful North Conway of course kept them for a while.' They tell of many compliments (some curious ones) from strangers; among others one from a young gentleman, who gravely informed the Club that it was the first time he had heard any Boston music, and he thought it "equal to that of Philadelphia"—They uniformly closed their concerts with the "Star Spangled Banner." And now, we suppose, they will soon be busily rehearsing some more tine quartets, &c, of Beethoven and other masters for the coming winter soirees. Truly we need to hear good music again; the silence has been long.—DvnghCs Journal of Music.

Mayence.—The SSlngerbund of the Middle Rhine is now definitively constituted. It consists of the following Vereine, or Associations, with about 500 members. The Mayence Liedertafel, the Mannergesangvcrein, the Frauenlab Verein, the Licderkranz Verein, all of Mayence; the Gesangverein, of Castel; the Harmonie of Alzey; the Sangerbund of Worms; and the Harmonie of Oppenbeim. At the head of the Association, is the Mayence Liedertafel.

A New "maoio Flute"—A book has been published in Germany, containing "observations on the importance of dramatic music in reference to the historv of the developcmeut of the human mind." And all this under the title of The Magic Flute.'

Emanuel D'astoboua.—Some new items about the celebrated composer Emanuel tt Astorgua, who died in Bohemia, have been recently discovered. It appears, that d' ABtorgua was a descendant of the highly reputed families of Count and Prince Capece Marchese of Jto/rano. The Kofranoa were partisans of the Austrian regime and related to several of the best families of Bohemian nobility; in Vienna even to-day a Rofrano Btreet can be found. The date' on which the distinguished composer Cernohorsky, teacher of Tartini, died, has also been ascertained, from some documents found in the cloister Asissi. His death took place in Gratz July 1st. 1742, on his way from Borne to Bohemia.

Boieldieu And Gbetby.—" The Jean de Paris of Boieldieu," writes the Athencevm "an opera which, though old in date, has a youth of all time—an opera full of melody, full of contrivance, full of humor, full of opportunity for every singer engaged in it to display the best of his powers,—is to be reproduced in Paris, at the Opera Comique. There, too, Gre'try's charming Zemire et Azor will shortly be revived. The opera has been put out of sight, to a certain degree, by Spohr's more ambitious setting of the good old fairy legend; but the Belgian composer has the best of it m regard to grace and melody. The score, however, will require to be retouched, as was that of Richard Coeur de Lion on its revival by Adolphe Adam,—Greiry having been not so much inexperienced as professedly careless in the orchestral portion of his workB." [We entirely dissent from the view adopted by our contemporary with regard to the relative merit of Gr6try and Spohr in their operas of Zemire et Aior. Ed.]

The Independence Beige declares that M. Re'ty, the manager of the Theatre Lyrique, of Paris, has found an attraction of real value and promise in a new grand opera, Roland a Roncevaux, by (M. Merniet. A work of less pretension, by the same composer, Saul, was given some years ago, at the Grand Ope>a, during the reign there of Madame Stoltz. M. le Comte Walewski, under whose superintendence theatrical affairs in France fall, has been coming to the aid of provincial managers, whom the system of late followed in the approval and rejection of new musical performers has placed in great difficulties. The subscribers to theatres, it is pleaded, have abused their privilege of contest and dismissal of probationers allowed three trials, to such an excess, that it has become next to impossible to form a working company, and this in days when dramatic singers of merit are becoming rarer and rarer, and the demands on their skill more and more exigent. The opera warfare of partisanship, which of late has become riotous to brutality, is no longer to be permitted. The postulants are to be allowed a month's trial, and then the approval or disapproval of the play-going public is to be tested by polling votes.—Athenceum.

A Sister Of Adelina Patti.—The operatic stage is about to receive a valuable acquisition in the person of Miss Carlotta Patti. A lameness resulting from an accident in early life has hitherto confined her to the limited professional sphere of the concert room, but a triumph of mechanical skill, achieved by Dr. Ceccarini, a surgeon in high esteem among the foreign population of New York, has surmounted the difficulty. By the aid of this apparatus, Miss Patti, who was hitherto impeded painfully, can move with the same apparent ease and precision as if she had never been lamed. For the last month she has been studying hard under Sig. Scola, and will make her debut early in the fall We hope that on this occasion she will not recall the incorrect and unartislic singing she occasionally displayed in her performances at the late concerts in Cremorne Garden. She ought not yet to dispense with studies because she found high favour with the judges, assembled in these concerts.—New York Musical Review.

Roue.—M. Liszt is said to have finished his Oratorio on the legend of Saint Elizabeth (text by Otto Roquette), and that he will soon send the score to Germany.

Bradford.—At the ■ instigation of several Bradford gentleman, who take an interest in the progress of the drama, and who feel the necessity which exists for a building in that town in which the works of celebrated dramatists and authors can be efficiently represented, and the audiences enjoy such representations comfortably and conveniently, it has been determined to get up a company, under the law of limited liability, for the erection of a theatre on some suitable site. The nominal capital to be 6,000/., in 600 shares of 10/. each. It is the opinion of persons conversant with such undertakings that a good, compact, and comfortable building may be erected at a cost of about 4,000/. or 5,000/. The present permanent theatre in Bradford is a wooden structure

Mario.—The director of the great Opera has engaged the singer Mario at a salary of 16,000 frani a month, which sum amounts to 192,000 francs per annum ; but, a] lough the Paris opera is open the whole year, it is understood of course that Mario will only receive 16,000 francs for every month during which he will have to sing. Mario, who is from Nice, and a compatriot of Garibaldi, had begun his musical career by singing in French in Faris before he sang in Italian. Just the reverse case is that of Madame Daiuoreau, who had sung in Italian before becoming the prima donna of the great French Opera, and of the Opera Couiique.—Literary Budget. 11 t r ... _

Belfast(From our own Correspondent, Oct. 7, 1862).—Important changes are taking place here in the musical world. Mr. George B. Allen having accepted an engagement in London, has resigned his post of conductor to the Classical Harmonists' Society, and Dr. Chipp of London has been appointed in his stead. Dr. Chipp is also made conductor to the Anacreontic Society, as well as organist to the Ulster Hall Company, and, therefore, the magnificent organ just about being erected in their hall will be shown to great advantage. It appears the festival so long talked of is now given up in consequence of the smallness of the number of the directors who take any interest in it, which is much to be regretted. The Classical Harmonists' open the season with Handel's Ode to St. Cecilia's Day on the 10th, with Mad. Eudersdorff, Miss Elton, Mr. Inkersall, Mr. T. Harper, <Ssc, &c. The Anacreontic have engaged Mr. Land's large and strong touring party (including Mad. Gassier, Mdlle. Cruvelli, Sig. Ciampi, Herr Herrmann, Mr. Swift, M. Sainton, Sig. Bottesini, and Mad. Arabella Goddard,) for their first concert next month; so both societies are evidently bestirring themselves.

New York, {Sept. 15).—There exists the usual uncertainty and vagueness in regard to the plans of the opera this fall, and no one can tell anything about them. This one we do know, however; Nixon, he of circuses and Cremorne Garden notoriety, opens the Acadamy on the 22d with Sonnambula, with Carlotta Patti, Sbriglia and Susini,— follows with Puritani, and winds up this spasmodic effort with Lucia. It will be an experiment, and we opine a successful one. If we can't stand three nights of opera, Ullman had better sell out. Cordier and Tietiens are in store for us—Cordier early in October, Titiens in November. Anchutz commences to-night a season of German opera, at Wallack's old theatre. His company consists of Mme. Von Berkel, Mme. Rutter, Mme. Johannsen and Messrs. Quint, Eudolphsen, Hartmann, Graft, Weinlich, and Lotti. Weber, Auber, LorUing, Lachner, agner, and Nicolai are promised, but judging from previous seasons, will not be given. The introductory opera will be Martha. The change from the old Stadt in the Bower to Broadway is a happy one. Many admirers of German music found the inconvenience of transit overbalance the pleasure derived. Anchutz may beat Ullman this year. He takes the lead at any rate. Anchtitz, Nixon, Ullman, Maretzek:—what an array for war times I Irving Hall, "cross-thc-way neighbor" of the Academy, one of the most useful, and at the same time, uncomfortable concert rooms in New York, has undergone very important changes. After having been sealed up for several weeks, it is thrown open to the public entirely remodelled, and in a most elegant and comfortable style. The opening concert will take place on Thursday evening next, under the direction of Theodore Thomas. The programme will include some of the attractions of the last concerts, introducing one of Carl Philip Emanuel Bach's Symphonies, and Auber's overture composed for the London Exhibition. Meyerbeer's Struensee music will also be performed, and Mme. D'Angri, and the Teutonia Choral Society, lend their aid. The antique bonnets, greybeards, and cracked voices of Reed's "Old Folks" will monpolise the new house for two weeks, and then give way to Max Strakosch and his Gottschalk soirees. Max is Gottschatk's agent, and he has a great many lines out for the coming winter. A few such dainty morsels will act as a sort of an appetizer, and create an interest in the more substantial, hereafter. We predict for Irving Hall a much greater patronage than the Academy. It always has been and always will be so. The Cremorne Garden still flourishes with the usual melange of music, ballet, pantomime, circus, promende, eating, drinking, &c. Muzio has composed a Brindisi Waltz, dedicated to Carlotta Patti. It was produced at the garden last week, and met with great success. Church music and the movements of the Harmonic, Mendelssohn and other societies, I will reserve for another letter. Yours, &c. T.W.M.— Cor! of Dwight't Journal.

Published this day,

TWO NEW SONGS BY BLUMENTHAL, snra By SIMS REEVES.

"OOOI) MORROW, LOVE, GOOD MORROW." (Poetry by Thomas Heywood, 1607.) as.

"THE MESSAGE." (Poetry by Miss A. Procter.) M.

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Published this day.

A NEW EDITION OF THE PIANOFORTE

STTJlDIES ..

BY

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Thoroughly Revised and partly Re-written.
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