STERNDALE BENNETT'S SESTET, Constructed upon the plan of the first movement, the present has a second (For Pianoforte, two Violins, Viola, Violoncello, and Double Bass). DR. WILLIAM STERNDALE BENNETT was born at Sheffield, where his father was organist, April 13, 1816. Left an orphan at three years old, he was removed to Cambridge, and there he entered the choir of King's College Chapel, in 1824. He became a student of the Royal Academy of Music in 1826, and resided in that institution for ten years. Having completed his musical education, so far as it could be completed through the medium of personal instruction-apart from the influence of daily experience on the powers of an artist, which ceases only with the close of his career-he went in 1836 to Leipzig, where he met as ready an appreciation of his genius as he had already found in London. He returned the following year, but paid a second visit of a twelvemonth to Leipzig in 1840, since when he has always dwelt in London. In 1856, he was appointed permanent conductor of the concerts of the Philharmonic Society, and from that time he has never appeared in public as a pianist; the memory of his excellence in this capacity, however, is still, and will for very long be vivid. In the same year he was elected by an immense majority to the musical chair of the University of Cambridge, and he subsequently took his degree in the faculty over which he presides, at this institution. His first The second theme (in A major) commences thus: work that was performed in public was the Concerto in D minor, which he played at the Academy Prize Concert, in 1831, it having been written in the previous year. The most important of his compositions of the period of his residence in the Academy are, two Symphonies, an Overture to the Tempest, and an Overture to the Merry Wives of Windsor, all unpublished; the Concertos. in E flat and C minor, the Overture to Parisina, and the present Sestet, all of which are well known to the world. Thus, the masterly work before us is the production of a student of less than twenty years of age; and its maturity of manner is as remarkbale as the perfect originality of thought which distinguishes it. Be it not supposed, because less is here said of the merits of this composition than of some others in the programme, that they are esteemed of less interest, or as less worthy of consideration; the opportunity to pay a just tribute to the genius of a friend is most tempting, but this opportunity would. be wantonly squandered were it so employed as to give the slightest ground for a suspicion that any other feeling than one of sincere artistic admiration induced unreserved warmth of eulogium. The finale movement, Allegro assai (in F sharp minor) has this energetic principal subject :Piano. announced by the bow instruments, and carried on by the pianoforte : Violin. The second subject (in A major), commences thus:- Piano. and gives place, as does that in the first Allegro, to a passage of display of - Piano. G. A. MACFARREN, GERMAN OPERA in New York-Mr. Carl Anschutz, anxious to do The Allegro moderato (in F sharp minor), opens with this theme, first something for the art of his country, has undertaken the very difficult task to give us, at Wallack's small but convenient old theatre, a season of German Opera. It was but the other day, when we were asked now: it came that the Germans had so very few operas of their own. The question appears quite natural, when we look upon the répertoire of the so-called German opera in this city. Of the six or eight operas which have been given for the last ten years three or four may be claimed by the French, so that in reality we have been presented with but very few works of this kind which may be termed German with regard to. character, style, and origin. That under these circumstances the treasures of thoroughly German operas appear in the eyes of Americans but very scanty, is a matter of course. We understand that it is the aim of Mr. Anschutz to dispel this prejudice. But the preparations for this praiseworthy object have not been quite finished, so that he was obliged to open the season with the two operas most known here, Martha and Der Freischutz. These were performed in a highly fact better than we have heard them for a long time. A tolerably creditable manner. Singers, chorus, and orchestra were excellent, in good performance of Lortzing's Czar and Carpenter proved again the sterling qualities of this opera. Mrs. Rotter and Messrs. Graff, Hartmann, Quint, Lotti, and Weinlich were the performers. What the company wants is a good baritone and a lyric tenor. If the other operas which are in preparation, Fidelio, Elopement from the Seraglio, The Eagle's Nest, and The merry Wives of Windsor, meet the same fate at the hands of the performers, the success of this season can be safely guaranteed.-New York Musical Review.. and is succeeded by a bravura passage for the pianoforte, such as is found in this situation in the concertos of Hummel and Moscheles, but rarely, save in the septet of the former composer, to be met with in compositions for the chamber which are constructed on the classical model. The following is the characteristic idea that forms the chief subject of the Scherzo (in B minor) : Viola. This portion of the movement is of unusual length; it is alternated with the comparatively brief Trio (in B major), which is assigned almost exclusively to the bow instruments: Violin. SPRINGFIELD (Massachusetts).—Madame Anna Bishop, with Edward Seguin, baritone, and Gustave Dr. Spiess, pianist, has given several concerts here with varying success. In one of them Victor Massé's operetta, Les Noces de Jeannette, was given. The programme called this a comic opera, but the only thing we noticed that was very laughable was the idea that a women of Madame Bishop's form and size should attempt the personation of so sprightly and youthful a character as Jeannette was evidently intended to be. It is only justice to her, however, to say that she adapted herself to the circumstances much better than one would have supposed possible. In the operetta more than in the concert we noticed that her voice occasionally showed the effect of years upon it; it seemed worn. Seguin, son of the French bass, is a clever actor-a little inclined, perhaps, to overdo his part-and a fair singer. In concert we did not like him, but in operas he sang to much The Andante Grazioso (in D major) begins with a continuous melody, of better advantage.-New York Musical Review. which this is the initial phrase: Piano. THE GERMAN PAPERS announce that Mr. Benedict's Lily of Killarney, translated by Herr Dingelstadt, is to be brought out at several German theatres, under the title of The Rose of Erin. MONDAY POPULAR CONCERTS. The playing of Herr Joachim on Monday night at the second (104th) concert will not be easily forgotten by those amateurs who were fortunate enough to hear him. The programme afforded an unusually wide field for the exhibition of his very remarkable talent. In Haydn's quartet, with which the concert began (No. 3, Op. 54), his performance of the adagio, not to speak of other movements, reached the ideal of poetic expression; such genuine singing, indeed, is too rarely heard from the human voice, much more rarely upon an instrument. His leading of Spohr's double-quartet in E minor, at the commencement of the second part, was one of those well-sustained and masterly displays in which the highest intellectual conception goes hand in hand with unerring mechanical address, and obtained from the crowd that filled St. James's Hall a heartier and more unanimous recognition of Spohr's great merits than, original, ingenuous, and beautiful as this double-quartet is, was probably elicited till now. The applause seemed even warmer (the attention could not have been more marked) than that bestowed on Mendelssohn's Ottetto at the previous concert. The great length of the work became altogether forgotten under the spell of such faultless execution; and at the conclusion of the finale the general feeling appeared to be one of regret that no more was to come. The Prelude and fugue in G Minor of John Sebastian Bach-(one of Herr Joachim's two demigods, Beethoven being the other)-was, perhaps, however, the most surprising exhibition of the evening. With what indomitable spirit and unerring skill the Hungarian violinist gives these truly marvellous solos-in difficulty unparalleled, as they are unrivalled for elaborate contrivance-our musical readers are aware; but on the present occasion he fairly outdid his previous achievments. The enthusiasm with which he threw himself into his task was quickly imparted to the audience, who, at the end of his performance, with one voice recalled him to the platform. There was no resisting the unanimously expressed desire to hear the Fugue again; and so, to the manifest delight of all present, Herr Joachim complied. We never remember him " in finer play." The other performers in Haydn's quartet were M. Pollitzer (Herr Joachim's associate as leader of the second part in Spohr's more trying composition), Mr. H. Webb and Signor Piatti, "the incomparable;" and to these, in the double-quartet, were added Messrs. Watson, Wiener, Hann, and Paque-all practised adepts in " quartet." The pianoforte sonata, in the absence of M. Charles Hallé, was entrusted to Mr. Lindsay Sloper, whose sterling qualities as a classical player have been more than once advantageously exhibited at these concerts, and than whom a more efficient substitute for the popular German pianist could hardly have been chosen. Mr. Sloper played the beautiful sonata, Op. 90, dedicated by Beethoven to his friend and patron, Count Moritz Lichnowski, and Hummel's brilliant trio, Op. 931 (in E flat), in which his partners were Herr Joachim and Signor Piatti. The singers were Miss Banks, who was more thoroughly at home in the plaintive romance of Glinka (repeated "by desire," and encored), than in the well-known barcarole of Schubert; and Mr. Henry Haigh, who gave songs from Fra Diavolo and The Lily of Killarney, the former encored, notwithstanding an opposition, the strenuous expression of which should, we think, have precluded its repetition. Mr. Harold Thomas (Mr. Benedict still being abroad) was the accompanist, and performed his duties in a thoroughly musician-like manner. At the next concert the principal feature is to be Hummel's celebrated septet, for pianoforte, wind, and stringed instruments-pianist, Mr. Hallé.— Times. ROYAL ENGLISH OPERA. Miss Louisa Pyne and Mr. Harrison continue, discreetly enough, to bestow their undivided attention on the popular works of their accepted repertory. Happily, this is ample and well varied enough to allow of a constant change of performances; and the bills are therefore never without a fresh attraction. When the manager and his accomplished partner, or her extremely clever confederate, Miss Parepa, do not appear, we have Miss Dobson and Mr. Perren, both of whom have made legitimate way, and from both of whom still better things may confidently be expected. Miss Louisa Pyne, now entirely recovered from her somewhat protracted indisposition, is in full possession of her physical means; and the benefit arising from the new system, which, by enabling her to come forward on alternate nights, instead of every night in the week, as was formerly the case, is evident both in her voice, which is bright and strong, and in her singing, which-though what stood in no need of improvement cannot be said to have improved is as expressive, highly finished, and brilliant as ever, One of the most agreeable of the late revivals is the English version of Auber's charming piece, Les Diamans de la Couronne. Miss Pyne's Catarina is as near perfection as could be wished; while in the dashing young nobleman who espouses the cause, and wins the affections of the adventurous and self-sacrificing Queen of Portugal, Mr. Harrison is provided with one of those parts of which he knows how to take the best advantage. Besides The Rose of Castille, which is still occasionally given, and Satanella, with its tuneful and ingeniously-constructed music (Satanella, Miss Dobson), two other operas have been furnished from the same fertile source-viz., The Puritan's Daughter, and The Bohemian Girl. Of the last it is enough to say that its popularity has in no wise diminished; that Miss Parepa (Arline), Mr. Harrison (Thaddeus), and Mr. Weiss (Count Arnheim) receive the customary "encores" in those evergreen ballads the names of which will force themselves too vividly on the memory of our readers for us to be at the pains of enumerating them; and that the other parts are sustained by Mr. Corri (Devilshoof -as of yore), Mr. St. Albyn, and Miss Susan Pyne. In The Puritan's ductions-Mr. Weiss lends the aid of his powerful voice to the somewhat Daughter-Mr. Balfe's last and certainly one of his most attractive prounderrated part of Wolf, which-with Miss Louisa Pyne, Mr. Harrison, and Mr. Santley in their original characters-renders the cast more than usually efficient. The engagement of Mr. Weiss, indeed, is a boon not merely to the theatre in general, but in particular to Mr. Santley, who now, like Miss Pyne, obtains the periodical repose indispensable to the healthy preservation of a voice which, with all its compass and fine quality, is no more invulnerable to wear and tear than any other. The music of The Puritan's Daughter seems suited to every one's taste, amateurs and professors alike. The "points," however, which hit the audience most emphatically, and elicit the heartiest tokens of approval, are precisely the same as last season-viz., Rochester's drunken song (Mr. Harrison) and Clifford's love ballad (Mr. Santley), addressed to Mary Wolf (Miss L. Pyne) at the end of the first act. Amina is a From the elegant pen of Mr. Vincent Wallace, besides the well-known Maritana (that other "Bohemian Girl," as both the adventures of the heroine and the long-lived popularity of the music fairly entitle it to be named), we have had the fairy opera of Lurline-in which, it may be added, Miss Dobson, the new singer, as the " Spirit of the Rhine," achieved, by universal consent, her most genuine success. trying ordeal for an unmatured aspirant; and, though Miss Dobson has enjoyed the advantage of a course of study in Italy, besides the valuable instruction of the once-celebrated Mrs. Wood (Miss Paton), she cannot hope, without considerably more experience as an actress and a vocalist, to master, for her own satisfaction and that of competent judges, a part written expressly for Madame Pasta, and which has taxed the abilities of the most renowned dramatic singers, from Malibran to Adelina Patti. Nor is the music of La Sonnambula quite so well fitted to English words as to the original Italian; and this, under any circumstances, would be more or less of a drawback, even to practised "adepts. In Lurline no such difficulties are found. Mr. Fitzball's heroine is scarcely to be looked at as a creature of flesh and blood, and thus does not exact more than ordinary histrionic powers; while every musical phrase which ́ Mr. Wallace has put into the mouth of the amphibious nymph, (to whom earth and water are elements equally accommodating), is as vocally effective as it is melodious and engaging. In Lurline, by the way, as in Dinorah, the acquisition of the new contralto, Mad. Laura Baxter, is a fact upon which the directors may be congratulated. This lady's fine voice has already charmed the ears of the Covent Garden audience, and inclined them to view all she does with favor. The English version of Fra Diavolo-another welcome excerpt from the repertory of the most gifted and prolific of musical Frenchmen-has also been played, and, on the whole so well (Zerlina, Miss Parepa; Lady Alleash, Miss Thirlwall; Fra Diavolo, Mr. Harrison; Lord Allcash Mr. Weiss; and Messrs. Corri and Ainsley Cook as the two robbers) that taking further into consideration the picturesque beauty of the music and the universal favor it enjoys-we are at a loss to explain why it should have been presented only once. To hear the overture and orchestral accompaniments played by the admirable band which Mr. Alfred Mellon controls with such vigor and intelligence, is alone worth a journey to the Royal English Opera. To the operas already named we have to add The Lily of Killarney and Dinorah, both of which keep their places in the programmes. "Business," has been almost uniformly good, and foreign and country visitors drawn to Loudon by the International Exhibition have a right to be well content with the varied entertainments provided for them by the management of our only lyric theatre. There still remain the Domino Noir (Auber), Bianca (Balfe), Victorine (A. Mellon), Romance (H. Leslie), Robin Hood (Macfarren), Ruy Blas (Howard Glover), &c., before the immediately available repertory of Miss Pyne and Mr. Harrison can be fairly pronounced exhausted. Some, if not all, of these may perhaps be forthcoming before the long-promised and anxiously expected new opera of Mr. Wallace, the title of which, by the way (Love's Triumph), has already been revealed, MUSIC AT REIGATE. (From a Correspondent.) The concert given by Mr. Thurnam in the new Public Hall, on Friday, the 17th inst. was in its way-for Reigate at least a sort of musical festival. The "troop" was Mr. Land's touring company, including Madame Arabella Goddard, M. Sainton, and Signor Bottesini, Madame Gassier, Mdlle. Marie Cruvelli, Mr. Swift, and Herr Hermanns. "The most salient features of the concert," (I quote our Reigate Journal) "were the instrumental performances. Perhaps no artist has done more for the cause of classical music than our gifted countrywoman, Madame Goddard. Since she first appeared, some dozen years ago, her career has been one continued triumph. Not content with endeavoring to familiarise the public with the best works of the great masters, she has revived, with great success, the almost forgotten compositions of Woelfl, Dussek, &c. Her performances of these and other works have contributed largely to the success of the Monday Popular Concerts, and at the same time to the elevation of the public taste. As an exponent of classical music, she has but few equals. On this occasion she selected Woelff's Ne plus ultra sonata, with variations on 'Life let us Cherish,' and the sonata in B flat for piano and violin, by Mozart," (the one written for Malle. Strinassachi). Woelfl's piece, according to the same writer (who seems to be unaware that Madame Goddard omitted the first movement, which alone entitled it to be called a 'sonata"), "was rendered to perfection, and warmly applauded." He then gives the story about Malle. Strinassachi and Mozart, with which THE MUSICAL WORLD, and the programme of the Monday Popular Concerts have made your readers familiar; and excusing himself from analysing the sonata, (for which the Journal cannot afford him space), proceeds to say, that the "execution of this splendid music was nothing short of perfection. M. Sainton was the able coadjutor of Madame Goddard, and both at the conclusion were warmly and deservedly applauded. M. Sainton had previously played a fantasia of his own on Scotch melodies, in which he displayed those qualities that have so justly made him a favorite in this country." What follows is a warm eulogy of the other instrumental performers, and a most savage onslaught on the singers, whose efforts he condemns in some terrific sentences, without condescending to specialise them: "The second part was enriched by the marvellous performances of Sig. Bottesini. It is many years since this great artist took London by storm, we believe at M. Julien's concerts. Before then, a solo on the double-bass seemed almost as absurd as an elephant making love, but the genius of Bottesini triumphed over every difficulty. He makes this ponderous instrument discourse the most eloquent music. Like those eminent men Joachim and Piatti, he gains the sympathies of his audience, not so much by unerring and brilliant execution, as by the exquisite phrasing, the warmth of expression, and the vocal character of his melodies. The best of our singers could well take a lesson from this incomparable artist. We can only add that his performances were enthusiastically received, and created a furore. He was twice recalled, the latter time in company with M. Sainton, who fairly divided the honours in the duct with Bottesini. The only other feature of interest was Madame Goddard's execution of a brilliant fantasia on Lurline, by Ascher. We much regret to say the vocal music was beneath criticism. It was an utter failure. Selections from operas, however effective on the stage, are seldom so in the concert room. Waltz tunes with variations are an abomination. We trust our managers of concerts will take warning, and not again give us such music, some of which hardly deserves the name. We will in charity say nothing of the singers. We hope the great success of the instrumental part of the concert will encourage others to come to Reigate, and give us the best music by the best artists." Poor Madame Gassier! poor Mdlle. Crivelli! poor Mr. Swift! poor Herr Herrmanns! Happily they get more leniently treated by another critic, who, under the name of "occasional correspondent" is also allowed to record his opinion of this concert in the columns of the Reigate Journal. From this gentleman, who is somewhat verbose, I must, however, quote sparingly. Here is an instalment: 。 "Of all the numerous artists who have visited the provinces lately, those whom Mr. Thurnam had brought together presented the most complete ensemble, and at the same time the most remarkable combination of executive talent. In making up concerts to be given out of London, it is generally the practice to depend entirely upon the name of one celebrated artist to attract the public, the rest of the performers being usually very inferior in both talent and acquirements to the one particular star. Mr. Thurnam, however, had evidently no intention that any such slur should be upon his undertaking. The vocalists and instrumentalists were all of the first rank in the musica! world, while three of their number are universally acknowledged to be the most gifted and accomplished executants of the day. Madame Gassier had not until recently been heard in this country for the last three years-too long an absence for such a popular favorite. . Madame Arabella Goddard had been but seldom heard even in London during the last six months, and Signor Bottesini, the Paganini of the double bass, came but a few days ago from Naples, after having been away for upwards of two years. The other artists were Malle. Cruvelli, whose magnificent contralto voice and dramatic style of singing have acquired for her such an extended reputation; Mr. Swift, the celebrated English tenor; Herr Hermans, the German basso; and Mons. Sainton, whose name and accomplishments as a violinist are of world-wide fame.. With such an array of talent it is not surprising that an immence audience should have assembled in our fine new Public Hall-an audience that comprised nearly all the principal families of Reigate and the vicinity, including several from Dorking, and some even from the metropolis. Every seat appeared to be filled-about two-thirds of the floor of the hall being appropriated to the reserved ticket holders, whilst the gallery was densely crowded. The scene presented by so brilliant an assemblage was exceedingly animated and striking." So now the poor singers may console themselves a little bit. After an appropriate compliment to Mr. Thurnam for his enterprise, &c. this "occa What becomes of Dragonetti. แ sional" critic quotes the programme, one of that miscellaneous character, for which I am aware you can never find room. After eulogising the "canon" (quartet) from Fidelio, the "vocalization" generally of Madame Gassier, and Mr. Swift's execution of a song from Wallace's Maritana, which “created much enthusiasm, and narrowly escaped an encore," he devotes some enthusiastic phrases to two of the instrumental performers. "What," he exclaims can we say of our lovely and gifted countrywoman, Arabella Goddard, who charmed every one present by her ineffably sweet and graceful mien, and carried the audience away in rapturous enthusiasm to dreamland, by her faultless pianoforte playing? Was ever such delicious liquid harmony heard before, gushing forth from the instrument at the touch of those fair fingers? No, we will venture to assert, that at the pianoforte Arabella Goddard reigns supreme throughout Europe, the undisputed empress of pianists. She has gained a great success at Reigate, having completely won the hearts of all who listened to her divine playing. And M. Sainton, what can the few feeble words we may command add to the reputation of this grandiose violinist? Nothing! We know this full well, nevertheless must record the immensely favorable impression he created by his magnificent performance, which was most enthusiastically received." Sig. Bottesini is then addressed in terms of befitting admiration. "His duet with M. Sainton"-he remarkswas indescribably fine, a perfect contest between little fiddle and big." A melody by Himmel, too, arranged by Mr. Thurnam for pianoforte and doublebass, and performed by that gentleman and Sig. Bottesini, is highly eulogised; and the "occasional" contributor terminates with a joint compliment to Messrs. Thurnham and Land, the "conductors :-- "When we add that Mr. Thurnam and Mr. Land were the conductors, and each in turn presided at the piano with marked ability, we have concluded our notice of this admirable concert, of which all present speak in the highest terms of commendation, and the recollection of which will be long retained in the memory of the splendid com. pany that assembled to listen to it, and at the same time do honor to Mr. Thurnam's musical taste and judgment." A compliment, in my own opinion, as fairly earned as it is unreservedly bestowed. MM. J. AND E. VAN DEN BOORN'S CONCERT.-The concert of MM. J., and E. Van den Boorn, given last Tuesday at Willis's rooms, had points of great interest. Hummel's grand sonata for four hands was executed by both artists with a precision and force that elicited unanimous applause from the distinguished company assembled. Other pieces played separately were no less favourably received. In Duets for Piano and Harmoniums of their own composition, wherein the resources of both instruments are well combined, some striking and admirable effects were produced. Herr Lidel, the eminent violoncellist, and M. J. Van den Boorn played Mendelssohn's sonata for piano and violoncello, in B flat, in a inost efficient manner, and Miss Banks and Mr. Wilbye Cooper contributed to the charm of the concert, which terminated with a trio from Norma, arranged by Brisson for piano, harmonium, and violoncello-performed by MM. J. and E. Van den Boorn and Herr Lidel, which was enthusiastically applauded. KENTISH TOWN.-On the 17th Mr. Alfred Gilbert conducted an exceedingly good performance of The Creation at Kentish Town. The principal vocalists were Madame Gilbert, Miss Bincks, Mr. John Morgan, and Mr. T. T. Reilly, the chorus being the members of the Kentish Town Church Choral Society, assisted by some of The Arion, eight part choir. The accompaniments were given by a small but efficient band, consisting of, Ist violins, Mr. W. E. Evans and Mr. Otto Booth, 2nd violins, Messrs. Albert Booth and Thomas Murby; viola, Mr. Sidebotham; violoncello, Mr. Ferdinand Booth; contra basso, Mr. Frye. Mr. W. Evans, Junr., played the flute part on a concertina with excellent effect, and this, with Mr. Elliott's clever management of the harmonium, supplied the place of the ordinary wind instruments. The whole oratorio was done with great precision, and in a manner highly creditable to the performers. .. EXETER HALL.-There was an overflowing audience in Exeter Hall on the Wednesday evening of last week, to hear Handel's Messiah. The solo vocalists were Mad. Rudersdorff, Mdile. Elvira Behrens, Mr. Wilbye Cooper, and Mr. Lambert. The opening recitative "Comfort ve my people," and "Thy rebuke," were ably sung by Mr. Cooper. Mr. Lambert displayed his fine voice in " Thus saith the Lord," and Behold darkness;" and his " Why do the nation" was received with. great applause. Mdlle. Behrens in "But who may abide," "O thon that tellest," and "He was despised," was received with equal favor. Mad. Rudersdorff gave the Soprano music throughout with vigor and expression, in "Rejoice greatly," and "I know that my Redeemer liveth," being especially successful. On Wednesday last Haydn's Creation was performed. These " Wednesday Oratorios" appear to have no present intention of arresting "business." It would be as well, however, with so large a chorus, to increase the numerical strength of the orchestra. 1 OCTOBER 25, 1862.] DUBLIN The Titiens and Giuglini party have been giving a series of operatic performances in the Irish capital with, if we believe the metropolitan journals, decided success. The operas have been those in which the Teutonic Norma, prima donna has made herself famous with the London public. Martha, and Don Giovanni have most particularly earned the acclamations of the writers. Mozart's opera, it appears, has been a veritable triumph. Of Malle. Titiens' Donna Anna we were prepared beforehand for any amount of encomium from enthusiastic Irish critics; but we could hardly have anticipated the showers of eulogies heaped upon Signor Badiali's Don Giovanni, even though we were bound to expect raptures about Herr Formes' Leporello. Signor Badiali, we are assured, "acted and looked the part (of the Don), and impressed the force of his genius in the masterly manner in which he executed was heard with the music" was superb in "Deh vieni alla finestra ;" and " deep gratification in concerted passages." 679 WELSH CONCERT.-A concert of Welsh national music was given at St. ous, and there was a band of nineteen harps, comprising the following accomJames's Hall on Thursday Evening the 16th instant. The voices were numerplished executants:-Messrs J. Balsir Chatterton, Frederick Chatterton, Wright Cheshire, Layland, Ellis Roberts, George Perry, Compton, Stratford, Putnam, and Vinning. Mr. John Thomas, the accomplished harpist, officiated as and J. Weippert; Mesdames Cooper, Dryden, Trust, Carey, Goter, Weippert, conductor, and as accompanist to the vocal solos. The programme was not confined to choral pieces. The services of Miss Edith Wynne, (Eos Cymru Pencerddes), Miss Eliza Hughes, Miss Lascelles, and Mr. L. E. Lewis, (Llew to the great gratification of the audience. Miss Edith Wynne, who sings with Llwyvo), were retained, and some Welsh songs were sung by these vocalists remarkable expression, gave Watching the Wheat," in Welsh,fand "The Dove," the former being immensely applauded and the latter encored. The Welsh language, from Miss Wynne's lips, flows as easily and smoothly as the choicest The Dublin Evening News is particularly copious and critical about the Italian, and no one, glancing at the book of words, would imagine that the effect Leporello of the German basso: "Who has seen the Leporello of Herr Formes that has not left the theatre wonder stricken, astonished, and powerfully impressed with all that great man does, especially in the subjugation of difficulties and the working of apparently discordant materials into a perfect concord and complete whole. The most perfect musician upon the stage-for we have a right so to call the grandest organist, most extensive classicist, both lingual and musical, most complete theorist, and most accomplished vocalist whom the lyric stage has given to us-Herr Formes, gave proof last night that he was not alone the engaging and wonderful actor that he was of yore, but that his glorious voice is still under as complete management as ever were the keys of the pianoforte beneath the digits of Mendelssohn. We trust, nay, we have a firm belief that those who witnessed his performance in Leporello will have an earnest wish to learn of the repetition of Don Giovanni, and of this we are sure that whatever may be the isolated opinions on the question of the presentation of the opera as a whole, Herr Formes Leporello can never be regarded in any other sense than as a masterly delineation of the only great comic character with which Father Mozart has furnished us." The Zerlina of the evening was Malle. Paulina Castri, pupil of M. Goldberg, the eminent singing master, to whose careful training, by all accounts, she does infinite credit. To sing with such renowned artists was a severe ordeal for a beginner;, but Malle. Castri appears to come successfully out of the fire. The success of the young lady was, indeed, unequivocal; and the Dublin papers are unanimous in their praises. The Freeman's Journal thus alludes to her performance : "Malle. Castri not only succeeded in making a decidedly good impression, but it was a great triumph for one so young in a part in which so much was to be done, On coming forward with Masetto and in which mediocrity would not be tolerated. (Signor Bossi) she received a hearty cheer of encouragement, and, notwithstanding her timidity on finding herself for the first time in the presence of a crowded and expecting audience, she sang her music sweetly and well, and her bashfulness told admirably in the scene where The Don" makes overtures to her. She was heard with marked pleasure in "La ci darem," which had to be repeated. Her "Batti batti" was remarkable for tenderness and expression; and in "Vedral Carino" she gave unmistakable proof of qualifications which will enable her to aspire to a high position in the profession she has adopted. An encore was demanded, with which she gracefully complied. Her voice is an exquisitely toned flexible soprano of considerable compass, though not yet fully developed; her personal appearance is all in her favour, and her manner graceful and easy. Her acting is natural, and she possesses that vivacity so essential for the part which she so admirably impersonated." The Elvira of Malle. Louise Michal, who had won the previons night golden opinions as Leonora in the Trovatore, did not fail to impress the critics with its vocal excellence. On Sunday, the 19th inst. Malle. Titiens, Malle. Lemaire, and Signor Badiali lent their services to the celebration of High Mass in the proCathedral, Marlborough-street. The congregation was very great, and at an early hour the doors of the church had to be closed. The Mass was sung by the Rev. Thomas Butler, and presided at by His Grace the Lord Archbishop. The music consisted of Professor Glover's Mass, No. 2, a manuscript composition, possessing great merit. We may especially mention the "Gloria," which is calculated to come into general use in choirs. The "Credo" is likewise composed in the best style of sacred music. The " Agnus Dei" is also highly meritorious. We must not omit to mention the "O Salutaris" of the same composer, sung as a trio by Malle. Titiens, Mdme. Lemaire, and Mr. Win, Tracy Malle. Titiens sang the "Inflammatus," and, with Madame Lemaire, the duet "Quis est homo" from Rossini's Stabat Mater. Signor Badiali gave the "Pro peccatis." At the conclusion of Mass, the "Laudate" of the Abbé Vögler was performed by the choir, the solos by Madame De la Vega Wilson, and the concerted music by Miss Leary, Mr. Ledwich, Mr. Leahy, Mr. Coleman, &c. The music was under the direction of Professor Glover. After the ceremonies the artists were entertained at a dejeuner in the Presbytery. His Grace the Lord Archbishop personally conveyed to Mdlle. Titiens, Madame Lemaire and Sig. Badiali, his thanks for their kindness in attending on the Occasion: MUSICAL LIBRARY AT VIENNA—The library of the "society of friends of music," in Vienna, contains: 2740 volumes of theoretical works about music, 24,430 compositions, among which are more than 4000 scores for full orchestra and 6000 piano scores; further, 71 painted portraits of celebrated composers, 9 paintings the subject of which is music, 776 printed likenesses of artists, 17 busts in plaster, a collection of biographies of native musicians and composers, 92 musical instruments forinerly in use, 19 medals in gold, silver and bronze, and 21 curiosities of the past and present times, could be made so euphonious. To Miss Eliza Hughes were assigned some simply harmonised, was repeated, as were also "Hob a derry danno," and 4 gave LIVERPOOL-The eighth subscription concert of the Philharmonic, on Tuesday night, was one of the most diversified and agreeable that have been members of the London Glee and Madrigal Union, viz., Mr. Baxter, Mr. Cumgiven for some time. The principal singers were Miss Banks, and some of the mings, Mr. Land, and Mr. Winn. The concert opened with Beethoven's No. symphony in B flat, by the band, which was admirably performed. If we except the solo by Mr. Winn in the chorus, "How Phoebus sinketh," the only songs of the evening were those sung by Miss Banks. The members of the London Glee and Madrigal Union are welcome wherever they go, and it is a good sign to see English vocalists forming themselves into associations of this kind, and not permitting all the honors and laurels of the country to be monopolised by foreign vocalists. There are as good voices in England as in Italy or any other country, and they only need to be encouraged and properly cultivated to give us as good classical and lyrical music as could be desired. A very agreeable feature in the programme was a duet in the second part between Miss Banks and Miss Stott, "Honour, riches, marriage blessing,” very nicely sung. It is a pity the latter lady does not appear oftener in public. She would form a valuable addition to our local cantatrices. The chorus sang "Who would stay," from Oberon, with precision; but we must again revert to the deficiency in altos under which this society labors. We are aware of the difficulty in procuring a sufficient number of this voice, yet we think there is a sufficient number in Liverpool to fill up the vacancies, if properly looked over. The band is a credit to the society and to the town; and with perhaps one or two exceptions our Liverpool Philarmonic band and chorus are fit to bear comparison in point of efficiency with any similar organisation in the kingdom, out of the metropolis. Mr. Land presided at the piano with taste and ability. The hall was well filled, if not crowded. Mr. Herrmann conducted, and it is needless to add, did so well.Abridged from the Liverpool Courier, Oct.8th. SPONTINI, who was little inclined to acknowledge any greatness besides his own, felt, nevertheless, great admiration for Beethoven's symphonies, and had always some of them performed in his annual concerts at Berlin. When Marx asked him one day why he did not write himself a symphony, he answered in a rough way: "It is not my style," adding immediately in a calmer tone, "I can write the great opera, and Beethoven the great symphony." ST. JAMES'S HALL, REGENT STREET AND PICCADILLY. The Musical World. T LONDON: SATURDAY, OCTOBER 25, 1862. ་ MONDAY POPULAR CONCERTS. THE Athenæum notices the recommencement of the One Hundred and Fifth Concert. It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so withont interruption. Monday Popular Concerts as follows: "The Popular Concerts, which are among the most noticeable phenomena of this inconsistent London of ours, were resumed on, Monday last-a month earlier than usual, in deference to the continuance of the International Exhibition. They were resumed with unabated spirit and perfection. Herr Joachim is king of Quartet leaders, and has a group of excellent associates, numbering Signor Piatti among them. Mr. Hallé needs no epithet as classical pianist of the first class; and the names of Haydn, Mozart, Beethoven, Mendelssohn, are, after all, not bad names to conjure with. We cannot, however, cease from wishing that the repertory might be widened, being satisfied that every opportunity of comparison judiciously afforded will be attended by only one and the same result-a deeper and more intelligent love of what is best and truest in Art. Without this, admiration runs a danger of degenerating into formalism." dory Our contemporary, in his earnest wish for novelty and experiment, appears to lose sight altogether of the real object of the Monday Popular Concerts. This is not at all to bring forward new and untried works, but to make the great mass of the public acquainted with recognised masterpieces. Now, it is scarcely necessary to urge that of these recognised masterpieces only a very small minority was known, before the institution of the Monday Popular Concerts, to any but professors of music, or amateurs who could afford to entertain quartet parties at their own houses. So that, in fact, the larger part of the chamber works composed by Haydn, Mozart, and Beethoven-to say nothing of the rest was wholly strange to nineteen in twenty of the visitors attracted to St. James's Hall. The vast good these concerts are effecting is unanimously admitted; but the means by which such results have been obtained mast Between the last vocal piece and the Trio for the Pianoforte, Violin, and Violin- be carefully borne in mind. One hearing respectively of sello, an interval of FIVE MINUTES will be allowed. The Concert will finish before half-past Ten o'clock. Sofa Stalls, 55.; Balcony, 3s.; Admission, 18. Tickets to be had of Mr. AUSTIN, at the Hall, 28 Piccadilly; Messrs. Cramer and Co., Hammond, Addison, and Co., Schott and Co., Regent Street: Duff and Co., 20 Oxford Street; Prowse, Hanway Street; J. H. Jewell, 104 Great Russell Street; Keith, Prowse, and Co., 48 Cheapside; Cook and Co., 6 Finsbury Place, South; Humfress, 4 Old Church Street, Paddington Green; Mitchell, Cock, Hutchings, and Co., Ollivier, and Hopwood and Crewe, Bond Street; Mr. Barker, West End, Hammersmith; Sanderson and Ward, 24 Upper Street, Islington; Foster and King, Hanover Street; Fabian, Circus Road, St. John's Wood; and of the sonatas and quartets of Beethoven is not enough to hearings-attentive hearings too, as a matter of course are allow of their influence being felt. At least half-a-dozen indispensable to familiarise the hitherto uninitiated mind with their design, and thus allow their beauties gradually to cultivate and form the taste. The new world of art so recently opened to the public through the establishment of the Monday Popular Concerts has been eagerly inspected. The interest it has awakened is, as The Athenæum justly observes" among the most noticeable, phenomena" of the day. Closer then should be the watch to prevent this interest from relapsing. The concerts can only be sustained at their present height by the prestige attaching to the names bequeathed us are exhausted, when every quartet, quintet, of the great masters. When the treasures these have sonata, trio, or duet, is as easily recognised by the opening bars-as Shakspeare's plays by the opening speeches, thenand not till thenadopt the course suggested by The Athenæum, and widen the director may, without detriment, the repertory." Just now it is surely wide enough-as, wide, indeed, to the majority, even at this stage of progress, Meanwhile there is little danger of "admiration degenerating and as comparatively unexplored, as the interior of Australia. into formalism"-if we rightly apprehend this somewhat misty warning of our contemporary. desire that the patrons of the Monday Popular Concerts He surely cannet future," before they have made tolerable acquaintance with shall begin vaguely speculating about the "music of the the music of the past. - |