To the Editor of the Musical World.

Sir,—The following correspondence has arisen in consequence of the irregular and illegal proceedings of the Executive of the above Association at the first Annual Meeting of the shareholders, held in St. James's Hall, in June last. Having received none but evasive replies to my repeated applications and letters to the Officers of the Association, I am reluctantly compelled to place before the musical world, through the medium of your columns, together with the correspondence, a protest which I made, as a shareholder, against those proceedings.

Immediately after the meeting, I wrote to Mr. Martin Cawood, the Secretary, pro tern., for information relative to the shareholders who had, and who had not, paid upon their shares, with the date when payment was made. The information furnished to me by the Secretary is embodied in my protest. You will perceive by the correspondence that the several matters referred to in my letter of the 20th June have been altogether evaded. I shall again address you at length on the present position of the concern, and am, Sir, Your obedient servant, George Scott.

429, Strand, Oct. 28, 1862.

429 Strand, London, 20th June, 1862. To the Secretary of the English Opera Association (Limited). Dear Sir,—The statement I received from you yesterday, showing the "Shareholders present at General Meeting held 18th June, 1862," has greatly surprised me, because I conceived that all the parties who attended the meeting were legally qualified to take part in its proceedings. I find, however, that not more than one half of those who attended and voted on the occasion were eligible (according to the Act under which the Association is incorporated). The list of Shareholders you have sent shows the following results:— ,

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"No Shareholder shall be entitled to vote at any meeting unless all calls from him shall have been paid, nor until he shall have been possessed of his shares three calendar months."

It follows that those Shareholders who have not held their shares for three calendar months, and those Shareholders who have made no payment on their shares, are excluded by the Act from all participation in the proceedings of the General Meeting. I consider, therefore, that the irregularity now pointed out vitiates all the proceedings of the Meeting held on the 18th inst.

I protest against these proceedings being adopted, because they are invalid by reason of their non-conformity with the Act; and I request that this protest be submitted to every Director or Member of the Executive Conunitte.

There are other irregularities, whichCon this occasion I need not point out.

Furthermore, the Meeting on the 18th inst. was not properly constituted. The only persons eligible and entitled, under the Act, to initiate the proceedings and conduct the business of the meeting, being the seven Members of the Provisional Committee who signed the memorandum of Association.

In corroboration of this statement, I again refer you to table B of the Act, under the head, "Directors 44 & 45."

"(44). The number of the Directors and the names of the first Directors shall be determined by the subscribers of the memorandum of the Association."

"(45). Until Directors are appointed the subscribers of the memorandum of Association, shall, for all the purposes of this Act be deemed to be Directors."

The members who originated it took their shares, and at once paid their money, with an understanding to enlarge their holding as the Association made progress. As one of the seven members who signed the memorandum of Association, and articles of Association, arid as having myself drawn up these documents, and thereby having conferred upon the project its legal form and character, and having determined the rules and regulations by which it should be governed, I think I have a right to ask these questions.

When I entered upon the concern I gave it my confidence and my money, I gave also much time, thought, and labour to its development, as also did others. These were unmistakeable evidence of the bona fides of our intentions.

I see now, from the facts disclosed on the 18th inst,, all kinds of irregular proceedings. You have the members of the Executive Committee in a very false position. As a mere act of courtesy the members of the Provisional Committee should have been called together to meet the gentlemen who were to be proposed as members of the Executive Committee, in order that all proper and preliminary arrangements might have been made between the retiring body and their immediate successors about to be, so that the Provisional Committee might have abdicated Office in General Meeting, and the Executive Committee be appointed by them in due course. Instead of which the Executive Committee were called upon to elect themselves, and to perform acts in the capacity of directors, antecedent to their election. All this confusion and bungling might easily have been avoided.

You are doubtless aware that the English Opera Association, as a project, does not owe its origin to yourself in any way. It is true you were invited to hold temporarily an official position, to be made permanent, should you furnish proof of suitable fitness and capacity for the office; but it was never for a moment supposed that you were empowered to separate the Association from its original promoters, and to extinguish the very authority that conferred on you an official position.

I must warn you that the appointments made are illegal, and that the Association must be absolved from all appointments made without due authority. These must be regarded as having been made on the personal responsibility of the several persons who were parties thereto, and in no way can the Association be held liable.

I frankly confess my amazement at the financial statement I read at the meeting on the 18th inst. It is a mockery, and unless the real business of the Association is at once taken in hand, so that ample capital to carry out the undertaking be raised, all parties concerned had much better abandon it. I hope the fact will never ooze out, that in the first financial year the English Opera Association raised the enormous capital of £240, and spent £191, besides incurring other obligations.

If the concern is to go on rightly it must begin rightly. It must ever be kept within the four corners of the Act under which it is incorporated. This is an imperative condition, which cannot be disregarded without great danger, if not ruin, to the concern.

The views I have herein expressed I am prepared to maintain and to justify; and I must be perfectly assured that this letter, or a copy, is placed in the hands of each member of the Executive Committee. I call upon you to carry out, in strict conformity with the Act, every provision relating to the Association.

I shall require you to furnish me with such printed documents as are specified and required by the Act; and, in the meantime, I reserve to myself the right of publishing this letter and your official reply in such journals as I may think right to select for such a purpose, should I deem this course of proceeding necessary.—I am, yours faithfully, (Signed) Geo. Scorr.

The English Opera dissociation (Limited), June 23, 1862.

Drab Sib,—I beg to acknowledge the receipt of your communication, dated the 20th inst., and which was directed to No. 41, Stanhope Street (my address being 14, Stanhope Street.) I'will lay the contents before the Executive Committee at the next meeting. I am, dear Sir, yours truly, Mabtih Cawood.

George Scott, Esq.

429, Strand, London, 24th Juno, 1862.

Dear Sir,—1 have received your note of the 23rd. So important do I consider the several matters touched upon in niyjetter to you of the 20th, that not a moment ought to lie lost in laying them before the Executive Committee, and previously furnishing to each member a copy thereof. I shall be glad to learn from you that such sliall be done without delay.

I do not wish to injure the concern iu any way, but unless my wishes are carried out I shall feel it my duty to publish my letter to you, and your reply, and also to send copies of the same to each member of the Committee, and to every Shareholder, together with such additional remarks as I may judge to be expedient and necessary. I am, dear Sir, yours faithfully, Geo. Scott.

M. Cawoodr Esq.

The Knglish Opera Association [Limited), 2oth June.

Dear Sir.—I l*>g to acknowledge receipt of yours of yesterday's date. I shall lay the same before the Executive Committee (together with your former communication) at the next meeting. I am, dear Sir, yours truly, Martih C A Wood.

George Scott, Esq.

429 Strand, 1st August, 1862.

Dear Sir,—I shall thank you if you will let me know whether my letter to you, dated the 20th June, 1862, has yet been placed before the Executive Committee of The English Opera Association (Limited); and if so, I should wish to know the views which the Committee entertain on the several matters referred to in the said letter. I am greatly surprised that, during the past week, no official communication has been made to me on the subject. I am, faithfully yours,

M. Cawood, Esq. "Geo. Scott.

The English Opera Association {Limited), 2nd August, 1862.

Dear Sir,—In reply to yours of yesterday's date, 1 beg to inform you that your letter, dated the 20th June, was laid before the Executive Committee on the 28th June, and was referred to Mr. Low, the Solicitor of the Association. 1 am, dear Sir, yours truly,

George Scott, Esq. Mabtin Cawood.

429 Strand, 4th August, 1802.

Dear Sib,—On Saturday last, Mr. Cawood of the English Opera Association (Limited), informed me by note that iny letter to him, of the 20th June last, was submitted by him to the Executive Committee on the 28th June, and that the Committee referred it to you. More than a mouth has now elapsed since the Committee were made acquainted with my letter, and no notice whatever has been taken of it that I am aware of. I now write to you for the purpose of asking what course you deem it expedient to advise the Committee to adopt in reference to the several matters alluded to in my letter. As a shareholder, and also one of the promoters of the project, I am entitled to have a full and prompt reply, and shall feel obliged if you will give it me. I am, faithfully yours, Geo. Scott.

W. F. Low, Esq.

67 Wimpole Street, Cavendish Square, 6th August, 1862.

DKAn Sih.—I think you will agree with me that I can only reply to your note through the Committee. But I liave been much engaged, and unable to look to the points raised by you, and as I assumed they were not prossing, I have delayed looking into tliem. I will, however, do so, and write to the Committee, or attend their next meeting, and advise them on the subject. I am, dear sir, yours faithfully,

George Scott, Esq. W». F. Low.

429 Strand, 18th October, 1862.

Dear Sir,—In your letter to me, dated the 6th August last, you stated you would cither write to the members of the Committee of the English Opera Association, or attend their next meeting, and advise them on tho subject of my letter to the Secretary. Will you kindly inform me whether you liave done as you proposed. Up to the present time I have received no reply to the letter iu question; and unless prompt attention is paid forthwith to the several points raised in my letter I shall be compelled to take other proceedings, which may prove prejudicial to the prospects of the concern, and which, as a shareholder, 1 shall regret being enforced to adopt. 1 am, faithfully yours,

W. F. Low, Esq. Geo. Scott.

REMARKS ON THE RENDERING OF THE "SINFONIA EROICA."" [Continued from rage 668.) There remains, in point of fact, therefore, only the tempo as that component part of the execution which is fixed by the character of the entire work. In the first movement of the Eroica, it is determined not by what is heroic generally, but by the manner in which Beethoven has expressed musically what is heroic. The former view of the matter has been productive of grave miat»fcoa jn the tempo, and, in consequence of the reprehensible practice now prevalent of hurrying the measure, may, probably, be productive of many more. Beethoven's principal theme, as well as its whole development, does not suggest a fiery hero who conquers the world by storm, bat some great Heroic nature, strong in itself, thoroughly noble, vigorously tenacious, and seeking out every obstacle. One would imagine that such a character was so plainly expressed by the breadth and nobleness of the principal theme, in the softness of the middle portions, and in the entire rhythm of the allegro, that a T"'"twl"> in the tempo was altogether out of the question, and yet we have found, by experience, that the first movement has absolutely been rendered, by too hasty a temjio, an absolute caricature of one of the most elevated tone-paintings which Beethoven and art ever produced.

But it is not enough to hit upon the correct tempo; it is absolutely necessary to adhere quietly to it in the allegro of the Eroica. "We are declared foes not only of the so-called "individual conception," or reading, of musical works on the part of conductors and executants, but also, in quite as high a degree, of all fluctuation in the tempo; and as, in our opinion, there is only one tempo for every separate piece of music, an arbitrary dragging or retarding of the time, too early degenerating into a tempo rubato, annihilates the value of classical music. When C. M. von Weber says:—" There is no slow tempo in which passages do not occur that require a quicker movement, if we would prevent a feeling of dragging: there is no presto that does not, on the other hand, and in precisely the same degree, demand the quiet rendering of many passages, in order that the means of expression be not destroyed by too great haste"—we can admit the correctness of the assertion only in the case of solo pieces, and not in that of orchestral works, except when we have to do with passages where the composer himself expressly marks^"stringendo" or "ritardando." Allhurrying towards the conclusion of a musical work is especially revolting, and. in fact, vulgar. Against this error we should always be on our guard, but more than any where else in the first allegro of the Eroica. The first entrance of the horns, in the Coda (p. 73 of Simrock's score), with the theme, must not be in a tempo the slightest degree quicker than the theme in the violoncello part at the commencement of the symphony, especially as the figures for the violins, and, subsequently, the tenors and basses, wot uxl be one confused jumble, as with a too quick tempo, is the case, also, with the earlier inverted figures (p. 7, and in many other places):—


—which thus, between the energetic forte of the basses and windinstruments, produce a perfectly ludicrous effect.

But I hear the admirers of young Mad. Musica exclaim: "Ah! we are to play according to the metronometer, are we! Oh, how pedantic !"—No, gentlemen! Play, for instance, on the piano, anything you choose from the works of writers, from Chopin to Liszt, just how you like, provided you fancy you can answer for what you do. But when you conduct a symphony—unless it be your own—carefully keep correct time, for correct time is the basis of all form in music. But to keep correct time and to play by the metronometer, are, for all reasonable beings, two different things, just as different as an automaton and a living musician. We do not, therefore, hesitate even begging musical conductors imperceptibly to retard certain passages—only, however, by periods, and not by bars—in the first movement of the Eroica, in order to obtain the proper breadth and weight of expression, which are also

• Translated from the Xiedcrrheinische Musik-Zeitung, expressly for The Musical Wobld—by J. V. Bbwcemak.

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Then the powerful chords, rhythmically and harmonically so effective, with the intermediate pauses (p. 16); and then, twelve.bars before the conclusion of the first part, the four bars with the kettle-drum, in B "Hat, which, with the intermediate crotchets of the second violins and the tenors, cannot be brought out too weightily. In the second part, the same holds good of the entire series of chords at pp. 83—36 (that wonderfully magnificent expansion and development of the figure just mentioned at p. 4); their effect being the more powerful, the more measured, and enduring the expenditure of power with which they are introduced. The impelling and impulsive element lies here in the rhythmical accentuation, m the conflict of the latter with the regular intonation of the bars, and in the all-crushing modulation, and not in any hurrying of the tempo; the contrary is rather the case.

Finally, we will once more direct attention to the Coda, in reference to the same point. The effect of the Coda, which consists in a gradual rise to a climax, of which it is one of the most perfect specimens Beethoven has given us, is altogether destroyed if the orchestra does not preserve the greatest calm. The theme must be rendered in its original clear form, full of quiet confidence, upon the first horns; the violins take it up, while, a bar afterwards, the three horns join them, imitatively, and the violoncellos twine round it in connected quavers—figures, until, combined with the basses and tenors, they undertake, with gradually increasing strength, its management, amid the gradually increasing braying of the trumpets, when, at length, by means of the latter, and all the other windinstruments, it appears, like some brilliant sun over the whole horizon. We will adhere to this picture; it shall serve us for the execution as well: the lofty majesty of the spectacle afforded by nature, consists in the slow and gradual rise of the bright luminary; a quick or sudden appearance of the latter would surprise us, but all would be over with our admiration and sentiment of aught that was exalted. The tempo of the Coda must not only not be hurried, buttheconclusion of the movement, properlyspeaking, the four bars of dominant chords ff, which must be played in slow (pesante) crotchets, receive effect after the syncopated notes only in strict tempo, which is better retarded a little, what they effect in conjunction with the violins:—


—the final impression of the concentrated triumphant power of a great thought that transforms a whole world. If the tempo be too quick, the over-vigorous expression of the climbing upwards in the fiddles will become mere meaningless scraping.

In order to pi-event any misunderstanding, we beg to state, once again, that the remarks we are about to offer are intended more as warnings than as precepts; their right application depends upon the feeling of the conductor, and cannot be metronomically prescribed. Finally, we will remark, in reference to the tempo of the first. Allegro, only that its episodical points, p. 11, p. 36, etc., would be sufficient to bring back to the proper time anyone who had taken the movement of the theme too quickly, unless he were totally deficient in all appreciation of, and feeling for, that melodious expression of the Klegiac, which, by the movements in question, Beetlioven lias united so beautifully, and, also, with such genuine musical contrast, to the principal poetic thought.

It may boldly lie asserted that dynamic expression, apart from the different gradations of light and shade, resulting from forte, piano, crescendo, decrescendo, etc., has never been so originally applied, and so precisely marked, as far as regards accentuation, in any of Beethoven's compositions as in the first movement of the Sinfonia Eroica. Never before Beethoven, and never even by him

previous to the composition of the Eroica, has rhythm been employed with such racy freedom, and accentuation treated as something so essential and redolent of character. It is principally this which imparts to the movement in question the stamp of individual life, by means of an original animation of the strain.

If we begin by considering the theme from this point of view, we shall be astounded at the variety in the treatment of it as a whole, as well as in that of its separate component parte.

After the first two chords, which not only fix the key, but, at the same time, announce something decided and vigorous (how inappropiate an Introduction would have been here, while, for instance, it is quite in place in Symphonies 2, 4. and 7), the composition commences piano and ligato, with the usual and regular accent of the tone-note (which might, as a rule, be termed in music the measurement of quantity in opposition to accentuation):

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In the rise towards the climax of the second ff, p. 25, however, the last crotchet is suddenly accented:—

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figure in quavers and semiquavers, is, generally, not heard. Just in the same manner, this is repeated in C minor :—

Trumpet Corni.

Further on, at p. 43, where the first bassoon presents the theme in B flat major, we find a new accentuation of the third bar, in its repetition by the violins:—

(To be continued.)

Brighton.—The Brighton Gazette has a long article devoted to a Morning Concert, which took place on Saturday last, at the Pavilion, in aid of the First Sussex Volunteer Artillery Band Fund, which we present with some indispensable curtailments:—

"The weather was extremely inclement, rain pouring in torrents, the heaviest continuous rain perhaps ever remembered by the oldest inhabitant, but notwithstanding this the musical attraction was so great that the room was filled with a fashionable company. The Inspector of Flyt, Mr. Terry, who let the company out of the carriages, was drenched, even under the porch in front of the Pavilion. So numerous an attendance in such weather may be accounted for in some respects by the great attraction, for among the musical celebrities there were three of the greatest artists in the world on their respective instruments, namely, Madame Arabella Goddard, M. Sainton, and Signor Bottesiui. The vocalists were Made. Gassier, Madlle. Marie Cruvelli (a sister of the great cantatries of that name) Mr. Swift and Herr Hermanns; and with Mr. Land as conductor, the troupe was complete. The Volunteer Band, under the direction of Mr. W. Devin, opened the concert with the March from Faust (Gounod). Madlle. Cruvelli and Mr. Swift then gave the duet' Ah ! si di mali mici;' the duet was admirably rendered. Then came Sainton's fantasia Scotch airs, introducing 1 Wha'll be King but Charlie,' and "Auld Robin Gray." The expression in the latter was delightful, and the variations equally interesting. Herr Hermann gave a song of Nicolai, from the Merry Wives of Windsor. It is some time Since Made. Gassier has appeared in Brighton, and she was much applauded when she came on the platform. Her voice appears to have increased in strength, not in quality. We might say, in non-musical parlance, that she ran all over the place. Mr. Swift sang Wallace's 'Yes, let me like a soldier fall,' with plenty of force. Made. Arabella Goddard next appeared on the platform, which was the signal for a burst of applause. She selected Woelfl's Ne plus ultra, with variations on 1 Life let us cherish,' in which she displayed great versatility of talent, whether in the beautiful under current of accompaniment whilst she clearly struck out the air, or in the power of her left hand, whilst revelling in the lighter passages in the upper notes. Mdme. Arabella Goddard is also distinguished for light and shade, and the purity and elegance of her expression, all of which amount almost to perfection,—indeed it would require a very nice ear to discover the slightest blemish. Her performance was artistic in the extreme, and we need scarcely say that she was rewarded with unbounded applause. Madlle. Cruvelli sang an air from the Favorita with much purity of expression. A sonata in B fiat, by Mozart, for pianoforte aud violin, by Made. Arabella Goddard and M. Sainton, was perfection itself. It was delightful to hear with what accuracy they took up the various points. Bottesiui commenced the second part with a fantasia on airs from Lucia di Lamtnermoor. What Paganini was on the violin, Bottesini is on the great instrument which he has chosen for the display of his extraordinary skill. Madame Arabella Goddard played a fantasia on airs from i«Win<(Ascher). It seemed almost incredible that a lady could combine with the most refined taste and delicate touch such masculine power as she did in this piece. The immense rapidity of the arpeggios, the clearness of the chromatic passages, whilst thundering forth the lass with her left hand a la I'halberg, displayed powers of an extraordinary kind. Mr. Swift sang a ballad of Mr. Land's, ' What can the heart want more,' with nice expres sion. In the duet of Sainton and Bottesiui, a composition of the great contra basso, it was difficult at times to tell whether Sainton was playing the violin or Bottesiui. The Artillery Band performed a galop, and closed the concert with the National Anthem.

"Drei Heften Sonate fur Violine allein"—Johaxx Sebutus Bach (Schott).

Heft HE. of this elegant, correct and valuable republication— including Nos. 5 and 6 of the famous Sechs Sonaten—has alone reached us. The instalment, however, is welcome—en attendant les autres. "Old Forkel" (as they call him), John Nichols Forkel (as we shall call him)—author of the little book entitled Ueber Johann Sebastian DacVs Leben, Kunst und Kuiuttcerlt, which perhaps, after all, tells us more about "The Leipsic Cantor'' (as they call him, alternately with "Father Bach" and the V Bate old Contrapuntist") than any other work extant, notwithstanding its silence (a result of its author's ignorance) about the compositions for the Church—makes the subjoined brief allusion to the Sechs Sonaten:

"The violin solos were universally regarded, for a long series of years, by the greatest performers on the instrument, as the means of making the student a perfect master."

What is most singular, however, is, that no music for the violin has been composed since Bach's day at all comparable to his solos, either in ingenuity or in difficulty. That anybody could haTe executed them, when Bach lived, seems now quite as unlikely as that anybody, Bach only excepted, could have written them. The Hejl before us contains the Fugue in C major, the most elaborate and perhaps the most extraordinary of all the solos. Amateuri of Bach's music will at once recognise its theme, with the first two answers:— Theme.

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is probably the cheval de bataille of the gifted Hungarian. It is the second and principal movement of the 5th Sonata, which commences with a short adagio, in the same key, and further contains a largo, in F major, and an allegro assai—a sort of moto perpetuo, in the key of the fugue. The Sixth Sonata, which contains no fugue, begins with a brilliant, well-sustained and immensely effective prelude in E major, and further comprises a "louse," gavotte and rondo, two minuets, "bourre," and "Giga," all in the same key—a compilation much in the same form as the Suites Anglaises for the harpsichord. The careful fingering of every difficult passage, by Herr Ferdinand David of Leipsic, gives a double value to this edition of the Seeks Sonaten, which should be on the desk of every ambitious student of the violin—however distant the hope of his becoming one day a Joachim.

No. 1. "Ah! say art thou Dreaming?" Ballad. Words and Music by
Owen Home. (J. H. Jewell).
No. 2. "Constancy." Ballad. Words and Music by Owen Hope.
(J. H. Jewell).

No. 8. "Croydon's Doleful Knell." Round for Three Voices. Words from the

"Golden Garland of Princely Delights." Music composed by I. M'Murdie.

(Robert Cocks and Co.) No. i. "I am but a lowly Flower." Song. Words from the German of

Ruckest. Composed by W. Adllnqton. (Robert Cocks and Co.) No. 5. "Will you Come to my Mountain Home?" Ballad. Written by

Alfred Wheeler. Music composed by F. H. Brown. (Robert Cocks

and Co.)

No. 6. "To Thee." Ballad. Written and Composed by William Brock.
(Addison, Hollier, and Lucas).
No. 7. "Happy Days of Childhood." Ballad. Poetry and Music by
Wii.li.vm. Brock. (Cramer, Beale, and Chappell).
No. 8. "My own Sweet Home." Ballad. Poetry written by William
Brock. Music Composed by John Blockley. (Cramer, Beale, and

Mr. Owen Hope's ballads (Nos. 1 and 2) are correct to a nicety; but their melody, if "wise"—as the Athenosum would say—is hardly new.

Mr. M'Murdie's round (No. 3) is written with an intention to good harmony, which alone will inspire respect.

Mr. Adlington's song (No. 4) is an attempt after the ballad style of Messrs. Balfe and Wallace, but hardly a successful one. The English version of Riickert's words is, however, smooth and pretty.

Mr. F. H. Brown's ballad (No. 5) calls for no especial remark.

Mr. William Brock's " To thee" (No. 6) might be appropriately inscribed to the composer of "My own, my guiding star," of which it is a direct, if not a highly successful, imitation. The same gentleman's " Happy days of childhood" (No. 7) is not more original.

An occasional turn of what may be called modern English time partially redeems Mr. Blockley's " Own sweet home" (No. 8) from insipidity.

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Though somewhat labored, these melodies (hardly well intituled, by the way) have the merit of being for the most part extremely well written, and reveal a commendable desire to avoid commonplace. There are some few crudities in No. 2 ("The Maiden's Song"), and No 8 (" The Hunter's Song "—which may have been inspired by Mendelssohn's third Lied in Book 1); but both these and No. 1 (" The Lover's Song") contain much that is good, much that is thoughtful, and nothing that is trivial.



Hatte, J. J., "The mariner's dream," vocaL Halte.'J. J., " The dying soldier," vocal. Hatton, J. L.,11 Spirit rapping," vocal. Sheppard, J. Hallet, "Oh, doubting heart," vocal. Hartog, Henri, " Home, sweet home, violin. Smith, Sydney, " The mountain stream," pianoforte.

Asbdown & Parbt.

Cramp, Arthur, " Farewell," vocal. Basley, Edward A., " Oh, call it by some better name," vocal.

Addison its Luoas.

Baumer, Henry, "Polacca brlllante," pianoforte. Nnnn, John m, "Yon fading cloud," vocal.

noBKBT Cocis & CO. Abt, Franz, "0! sweet flowing streamlet," vocal. Aht, Franz, " O! rosy morn," vocal. Abt, Franz, u Like a well-spring in the desert," vocal. Abt, Franz, " The dear old songs at home," vocal. Abt, Franz, " Birds that in yon pine trees sing," vocal. Frleker, Anne, "I built a bridge of fancies," vocal. Lindsay, Miss M., "Thalassa," vocal. Oscar, Alfred, "Sunlight," vocal. Faust, Carl, "For thee," pianoforte. Glover, Stephen," The gem of the Isle," pianoforte. Glover, Stephen, "The bridal march," pianoforte. Hall, E. V., " May bloom," pianoforte. Prince, Henry, " Polka.des Zouaves," pianoforte. Wright, Adam, " The newest Dundreary polka," pianoforte. West, G. F., " Gems from the great masters," No. 11 and No. 16, pianoforte. Wallace, W. Vincent, " Maggie Lauder," pianoforte.

Cbameb, Beale, <fc Wood, Gretton, George, "Der Hexen Tanz," pianoforte. Gretton, George, 11 Erdc und Illmmel," pianoforte. Gretton, George, " Caprice pathetlque," pianoforte. Gretton, George, "Grande marche," pianoforte. Kremer, Joseph, " Chants des Alpes," pianoforte. Kremer, Joseph, " Sur la Plage," pianoforte.

Boosev & Sons. Glover, Howard, " She may smile on many," vocal.

T. L. Fowle.

Fowle, T. L., "Smile again, dear mother," vocal. Fowle, T. L., "All nations whom thou hast made," vocal. Fowle, T. L., "Rest on thy marble corals," vocal. Fowle, T. L., " A grand march," pianoforte.

Hale i Co.

Hutchinson, W., "'Twas evening, in the summer time," vocal. Hutchinson, W., "Oh, wake those tones no more," vocal.


Candola, C. DI, " Take back thy gifts," vocal.


Atkinson, F. C, "The bells," vooal. Oondron, H., "L'espeTanoe," pianoforte. Gattie, James, " A sketch," organ.

Cock, Hctciiixgs, * Co. Smith, Alice Mary, " The last footfall," vocal. Smith, Alice Mary, « Vale of Tempe," pianoforte.

Metzleb & Co.

Aschcr, J., "Espolr du cceur," pianoforte. Ascher, J., "Virginska," pianoforte. Asclier, J., "Marche des Amazones," pianoforte. Oury, Madame. "King of Italy's grand march," pianoforte. Schla^ser, A., " The meeting of the waters," pianoforte. Talcxy, Adrian, "chant du munastere," pianoforte.

. L. Moonen.

Moonen, Leon, " When first I beheld thee smile," vocal.

J. A. Novello.

Haydn, "The Creation," vocal. Nichols, W. H., "Spring," vooal. Trego, Henry Stafford, " Three s6ft voluntaries," organ.

• B. W. Oluvteb. Thomas, Harold, " Across country," pianoforte.

Payment Of French Singers.Figaro refers to the fabulous sums to which the salaries of lyric artists now reach in Paris, and remarks that the dearness of provisions is a mere jest in comparison with the deafness of sweet sounds. Speaking of the Grand Opera, it says:—" In 1802, during seven months, Gueymard received l.OOOf. for each performance in which he appeared. As he sang forty-two times, that payment is equivalent to 72,000f. a year. Madame Gueymard had l,407f. a night; she appeared twenty-three times, which makes 54,000f. a year. The others are in proportion. The most costly artist has been Niemann, who was specially engaged to sing in Tannhauser; his engagement was for a year, at 46,0U0f., and Tannhaiucr having been performed only three times, it results that M. Niemann received 15,3331". Me, per night,"

Hekb Joachim returns to Hanover, to direct the Court Conefiis held in' that Capital during the winter months, after the Monday Popular Concerts on the 1st of December.

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