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of his series of " Beethoven's recitals" how thoroughly he can enter into its spirit. The never-flagging animation and brilliancy of the allegretto is particularly well adapted to exhibit his delicate and unerring mechanism. From the melodious minuet-like opening of the sonata to its abrupt conclusion, indeed, Mr. Halle was rewarded with the deepest and most appreciative attention. In Hummel's Septet the pianist was aided by Mr. Pratten, flute, Mr. Caret, oboe, and Mr. C. Harper, horn, together with Mr. Webb, Signor Piatti, and Mr. Severn, viola, violoncello, and double bass. More efficient executants could scarcely be found in Europe, nor could the performance have been better. In the trio of the Kherzo the phrases of melody for the horn were splendidly given by Mr. C. Harper, and to the effect he produced, no less than to the pleasing character of the movement, must the enthusiastic " encore " be attributed.

About Herr Joachim's performance of John Sebastian Bach's Prelude and Fugue in C major we must hesitate to speak lest we be accused ot a desire to exhaust our limited stock of encomiastic epithets. The Fugue with its bold and wonderful complications seems undestined for human fingers ; to Herr Joachim, the Napoleon of the fiddle.'however, the word "impossible" is unknown. It requires not only rare dexterity and rarer brain to execute and remember, but absolute genius thus to animate a contrapuntal study into a noble, exciting, and triumphant exhibition.

The concert could not have closed more effectively than with Haydn's irresistible trio in O Major (No. 5), played in a spirit of kindred geniality by MM. Halle, Joachim, and Piatti. Of the vocalists we need not say much. Both Miss Lascelles and «Mr. Haigh have superb voices. The lady sang "In questa tomba oscura" (Beethoven), and "Lily Lye" (Maefarrcn); the gentleman "Good night, beloved" (Balfe), and "The Nightingale}" (Henry Smart). In the accompaniments Mr. Lindsay Sloper manifested his customary tact and skill.— Telegraph.

COURT OF BANKBUPTCY,
(Before Mr. Oommieeioner Fonblanque.)

IN RE O'ROI'BKE, OTHERWISE FALCONER.

This was an application under an old insolvency case. The insolvent "was an actor at, and the manager of, the Lyceum Theatre, under the name of Falconer. He obtained his final order from the Insolvent Court in June, 1859. This was an application on behalf of Mr. Telbin, scene painter, for an order rescinding the final order made by the learned Commissioner, on the ground that the insolvent had since his insolvency acquired a large amount of property as manager of the Lyceum Theatre, in consequence of the great amount of approbation bestowed by the public upon the performance of the drama Peep o' Day. It was stated that Mr. Telbin had by his ability largely contributed to the insolvent's former successes, and that a transformation scene of his had, as appeared by the schedule, been sold by the insolvent for 200/. Mr. Keene appeared in support of the application; Mr. Sargood and Mr. Reed contra. Mr. Keene stated that "the application was made under the provisions of the 5th aud Gth of Victoria, cap. 116, which, in the case of an insolvent petitioner, allowed his creditors the right of proceeding under the directions of the Court against subsequently acquired property. The Court was aware that under the recent statute, the Bankruptcy Act of 1861, the powers of the Insolvent Debtors' Court were vested in the Court of Bankruptcy, and he concluded, .therefore, that ithe Commissioner had jurisdiction to make the order. The affidavits made by the applicant went to show that, in consequence of the intellect and talent displayed by the insolvent in his capacity of manager and author, he had realised 20,000/.; that his wife performed as 'principal old lady' at the Princess's Theatre under the name of ' Mrs. Weston,' and that Mr. O'Rourke had received a large sum of money on her behalf. The insolvent had, moreover, a house at Fulham, and his professional earnings had been so great that he had been able to purchase an unexpired term of years in Drury Lane Theatre, and he had received further sums of money for the performance of his plays at Liverpool and elsewhere."

Mr. Sargood contended, that" with respect to this particular application the Court had no jurisdiction. The 12th section of the Protection Act directed that such applicat ion should be made to the Commissioner who heard the case, or, in the event of his death or removal, to the Commissioner who should succeed him. As to property the Court had clearly no jurisdiction. The motion was a speculative one, arising out of the imaginary great success of a piece at the Lyceum Theatre. The 12th section distinctly pointed out who should have jurisdiction in an application of this kind. The insolvency was before Mr. Commissioner Murphy, and the 12th section said such an application must be made to his successor. Mr. Nicholls was that successor. His Honour was neither Mr. Commissioner Murphy nor his successor." Gut adjourned.

The Overture To "don Giovanni."—" In a recent number of the Athenaeum," writes a Correspondent, "was an extract from Genast's 'Memoirs,' giving what purported to be a true account of the origin of the Don Juan overture. In a late number of the Gartenlaube a short article appeared throwing doubt on this version, which, indeed, contained in itself several improbabilities very difficult to reconcile. The next number of the same journal has a communication signed 1 L. S.,' which the editor gives as authentic. It is as follows:—' In the summer and autumn of 1787 Mozart was living with the Dusseks, with whom he was upon friendly terms, at their charming residence, Petramke, situate upon a gentle elevation not far from the Augezder Gate. Three days before the one fixed for the performance of Don Juan, Mozart was playing nine-pins in the garden with some acquaintances with great zeal, quite forgetting that the overture was not yet composed. Dussek, now thoroughly uneasy, took him aside, and represented to him that it was the highest time to think of the composition of the overture if the performance on the appointed day were not to be made impossible. Mozart admitted that Dussek was in the right, and begged him to go with him into his room. "I will play you," he said, " three overtures which I have ready in my head; I will write out which ever of them pleases you the best." He at once wrote out in score that one which Dussek chose, and the copyists had no little trouble to copy out the parts by the proper time. This information is said to have been verbally communicated by Madame Dussek, the singer. The opera, if it be true, may thus have been completed on the 28th of October, as is stated in Mozart's Journal. According to this account, the overture would have been written three days before the performance, for that took place on the 4th of November, 1787. Madame Dussek's communication clears Mozart of the imprudence of having ventured to allow the overture to be played prima vista, without any rehearsal, at the first performance of the opera. A."—We cannot resist adding, in comment on the above, an expression of our long-entertained belief that the story of the Don Juan overture has been, in any and all its forms, one of those tales made to excite wonderment after the fact. Herr Genast's version, at all events, carries its own extravagance on the face of it. Fancy a group of semisober South Germans sitting, watching through the night-hours in mute admiration, while the master improvised his work! The above remarks will serve as answer and acknowledgment of obligation to another correspondent, signing himself " W. H. F.," who, with reference to the Don Juan overture and Herr Genast's tale, has recalled the known story told by Beyle, on the authority of Schlichtgroll.—Athenaeum.

Bury.—The reappearance of Miss Hawes before the Bury musical public under her married name of Mrs. Merest,—writes the Bury and Norwich Post apropos of Mr. Nunn's Concert , which took place on the 30th ult, —gathered a large audience in the Athenreum Concert Room. Mrs. Merest brought with her Mr. Lazarus, the well known clarionet player, and his daughter, whose talents both as accompanist and solo peformer on the piano, are entitled to no mean praise. The chief attraction was, of course, the lady, whose fame won by her talents in the metropolis and other parts of the kingdom, was endeared to many present by social ties, and to all by regard for a name so long connected with this town and neighbourhood. It was, therefore, with great pleasure that the audience found themselves able to give a warm welcome, not only to the Mrs. Merest whom they knew so well, but also to the Miss Hawes whose splendid contralto voice they had so often listened to before. In the first part of the programme, " He was despised" was purely and pathetically rendered by Mrs. Merest. The depth of tone and feeling which this demands, would almost make us believe that it was written for her, as well as Mendelssohn's " O rest in the Lord!" which followed. Haydn's " She never told her love," must have charmed all lovers of classical music. Mm. Merest's delicate accompaniment gave almost as much pleasure as the rich tones of her voice, which the transposition to a lower key than that of Haydn fully developed. These remarks apply also to the air from Me'hul's Joseph, to her own ballad, "I'll speak of thee," (rapturously encored), and to "I heard thy fate without a tear." In the duets, "When we two parted," and "I would that my love," Mrs. Merest was assisted by Miss Lazarus. Mr. Lazarus delighted his audience with airs from I Purilani, and a "Song without words" of his own composing. The concert closed with Czerny's Galop de Concert, by Miss Lazarus. In conclusion, we may congratulate Mrs. Merest upon her reappearance before a Bury audience, and the musical public upon the return of so well tried and well trusted a vocalist.

Mb. And Mrs. German Reed's Entertainment. — The Gallery of Illustration closes on the 12th of November, and though, to meet the requirements of the Great Exhibition year, the season has been unusually long, its success has been great, large audiences still testifying to the merits of the Entertainment. In the Family legend, Mr. Reed has introduced the attraction of dramatic effect without sacrificing the cluiracteristie features which essentially belong to this class of amusement. Mr. John Parry's Musical " Narrative of a Colleen Bawn," is, in its way quite incomparable, whether as regards its conception or its execution.

HANDEL IN 1718—1728.

FOUNDATION OF THE OPERA IN LONDON.
{Continued from Page 669).

Before we turn to the description of separate works, we will devote a few words in general to that great musical power, the strongest during the execution of a work, but the soonest forgotten, and in its nature the most difficult one to depict j wo mean the singer.

And here we treat exclusively of the Italians, or the Italianized English and Germans. This is no reproach to the Germans; else it were a reproach to study among strangers an art which we do not possess at home. In the art of song, the Italian school is the only one that can be regarded as a polished one. Fortunately, in this art, simplicity has more weight than variety; for the foundation of all true singing is the production of a pure tone, which, like virtue, is to be found only on one straight and narrow path, amid many false roads. The appropriation of the Italian method, intelligently studied, can only result in good. But, closer viewed, in the kingdom of this great anil undivided Italian art of song, as embodied in varied periods and artists, there reigns a great variety, as the changing mode of different composers proves to us. A glance at this will therefore be quite in accordance with the plan of our historical description which has somethiug else to occupy it, however, then the golden pathways of particular singers, and ill contents itself with common worn out phrases about the "great school of Italian song." Handel's life stood in the midst of the finest and most admirable that the art of song has ever displayed; and the best of all was exercised in familiar intercourse with his works. His life differs from that of others, in thus enabling us to examine this side of art impartially also. In Handel's time we can perceive four epochs in the art of song.

The finest perfection of the first we find in the last ten years of the seventeenth century. Its principal interpreters were Pistocchi and Steflani, whose characteristics were intelligent refinement of execution, principally directed to chamber music, an union of contrapuntal and melodic art, and an embodiment of singer and composer in one person. From the composer's point of view we should give the preference to Stcffani, while, as singing teacher, the greatest praise is due to Pistocchi. Both Carissimi and Stradella belonged, at an earlier period, to this school, and they were also equally composers and singers.

The second change was in opposition to the first epoch. Dramatic song was especially cultivated, and theatrical action employed to the utmost This change commenced in 1690, and was in full flower when Handel was in Italy, and on his arrival in England, in 1710. This was Scarlatti's school. Reiser's music also required and created the same school of singers, although less perfect. The composer and singer were now distinct, or only remained united where the national talent was two-fold, as in the case of Mattheson in Hamburg. The most celebrated in this class of singers was the Chevalier Nicolini. Victoria Tesi also belonged to it. The great requirements were fiery acitvity, pre-eminence of happy natural gifts over purely musical schooling, and, in consequence, a neglect of pure song in favor of the drama. These were the singers of whom Handel was in the habit of saying, "Tolerable voices, but good actors." Nevertheless they filled the position of theatrical singers much better than the refined masters of song who had preceded them.

The third epoch was the result of the two former ones, uniting what was excellent in both, with an inclination towards the first. And in this epoch rang truly golden song. The singers preserved the individuality that had been attained in the previous period; but, giving themselves seriously up to musical studies again, partly at the cost of the drama, with the help of fine natural gifts they attained a degree of perfection such as had not yet been reached, and will remain a model for all times. These were the singers for Handel's music, and his declared favorites. Further remarks on them are unnecessary, for we shall yet be obliged to cover many pages with the performances and follies of Signors Sencsino and Carestini, Mr. Beard, Signors Cuzzoni, Erasi, Strada and Franeesina, with Mrs. Cibber, and many others.

The last change that had any influence on the artistic life of Handel, with its forced liveliness and defective musical finish, became degraded in many ways towards the second, but was mostly distinguished by a great exaggeration of the means of expression, and a one-sided deviation from the moderate " golden mean." The singer's independence became audacious eccentricity, and the minister of art became the composer's tyrant. And of these, who drew the multitude, after them, and were almighty in Italy and Germany, we shall also hear enough hereafter. Faustina was the first, and Farinelli the most renowned among them.

What is to be said of the poets will also come more fitly afterwards, as it was only at a later period that they became of importance, when placed in opposition to tho singers.

{To be Continued.)

St. Pr.TEBSBi'K«.—The new prima donna, Mdme. Barbot who succeeded Mdlle. Lagrna, has made a great hit as Leonora in the Trovatore. In the new opera of Verdi, La Porta del detiino, the following artists will appear:—Mdme. Barbot, Mdme. Nantier-Didiee\ Signors Angelini, Debasrani, Graziaui, JIarini, Meo and Tamberlick. Rossini's Comte Org is

New Yohk.—The members of the Arion have presented the Lain, lafel of Buffalo, whose guests they were at the time of their late excursion to Niagara Falls, with a handsome silver cup Mad. ChartonDemeur, and Signor Mazzolini, the tenor, arrived this week. Also Mr. Ullmann, with Mad. Cordier. Miss Carlotta Patti made her debut u Amina in La Sonnambula. The house was crowded, and everybody :med more than satisfied with the singing of the young lady; but. judging from this first appearance, it is more than likely that her career as a dramatic singer will not be long—New York Mutical Review.

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Published this day.

A NEW EDITION OF THE PIANOFORTE

STUDIES

BY

STEPHEN HELLER,

Thoroughly Revised and partly Re-written.
Published under the immediate superintendence of the Composer.

EXTRACT FROM PREFACE. "A great number of Studies for the Pianoforte already exist, solely intended to form the mechanism of the lingers. "In -writing a series of short characteristic pieces, I have aimed at a totally different object. ■

"I wish to habituate both Students and Amateurs to execute a piece with the expression, grace, elegance, or energy required by the peculiar character of the composition; more particularly have I endeavoured to awaken in them a feeling for Musical Rhythm, and a desire for the most exact and complete interpretation of the Author's intentions.

"STEPHEN HELLER."

THE EDITION CONSISTS OT FIFTEEN BOOKS, FBICE SIX SHILLINGS EACH.

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M. THALBERG'S 2STE3W COMPOSITIONS

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THALBERG'S BALLADE,

AN ORIGINAL COMPOSITION FOR THE PIANO.
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THALBERG'S ART OF SINGING,

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New Series. Price 3s. each.
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LIST OF
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TUTORS. 6 Chappell's Popular Violin Tutor.

Chappell's Popular Drum and File Tutor 0 1 Chappell's Popular Flute Tutor.

Chappell's Popular Pianoforte Tutor, Chappell's Popular Cornet Tutor.

Chappell's Popular Clarionet Tutor. Chappell's Popular English Concertina Chappell's Popular Harmonium Tutor. Tutor.

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Chappell's Popular Seraphins-Angelica Chappell's Popular Guitar Tutor.

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VIOLIN Chappell's Favourite Airs in the “Lily Chappell's Favourite Airs in “Lurlino,' of Killarney."

and “ Victorine." Chappell's Edition of Verdi's “ Un Ballo Chappell's 100 Irish Airs. in Maschera."

Chappell's 100 Scotch Airs. Chappell's Edition of Mozart's “Don | Chappell's 100 Christy Minstrel Melodies.

Giovanni," easily arranged in a com | Chappell's Favourite Airs in “Il Trovaplete form.

tore," and “ La Traviata." Chappell's Edition of Rossini's “Stabat Chappell's 100 Dances. (principally D'Al. Mater," do.

bert's.) Second Violin and Bass Part Chappell's 100 Dances (Second Series). to Ditto. Chappell's Favourite Airs in the Queen Chappell's 100 Operatic Airs.

Topaze," and in the “Rose of Castille." Chappell's 100 Popular Songs. Chappell's 100 Sacred Songs, Anthems, Chappell's 100 Hornpipes, Roels, Jigs, Psalms, and Hymns.

&c. Chappoll's Favourite Airs in "Robin Chappell's Eighteen Airs, with Easy Hood."

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MADAME OURY. Danish National Hymn

Transcription , King of Italy's March

Do. . . Chant du Patriot . . . Morceau de Salon Sunshine .

Valse de Salon . La Chasse de Compiegne . . Fantaisie Rosalie the Prairie flower

Impromptu . Oscar Mazurka . Jessic the Flower of Dumblane Fantaisie

BRINLEY RICHARDS. Castles in the Air. Scotch Melody. Fantaisie .

ASCHER Espoir du Caur . . . • Melodie Virginska .

Mazurka Elégante Marche des Amazones

SCHLESSER. Charlie is my darling

Transcription . Der Freyschütz .

Fantaisie brillante Farewell but whenever

Transcription Giorno d'orrore

(Semiramide) Lass o' Gowrie

Transcription Meeting of the Waters

Do.

G. A. OSBORNE. Auld Lang Syne -..

Transcription : Comin' thro' the Rye Jock o' Hazeldean .

Do. March of the Cameron men

Do. Roy's wife .

Do. Scots wha hae

Do.

H. W. GOODBAN. Blue eyed Nelly

Transcription : Cruiskeen Lawn

Do.
Gentle Annie

Do.
RICARDO LINTER.
Carnaval de Venise :
Enchanted Grotto ..

Fairy Nocturno
Vesper Dewdrops

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CLARIONET.
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CORNET-A-PISTON. Chappell's Favourite Airs in the “Lily | Chappell's Favourite Aire in "Robin of Killarney."

Hood." Chappell's Airs from “Un Ballo in Chappell's Favourite Airs in " Larlino" Maschera."

and “ Victorine," Chappell's 100 Dances (Second Series). Chappell's 100 Operatic Airs. Chappell's Airs from the “Amberwitch." Chappell's 100 Dances (principally D'AlChappell's Edition of Verdi's “Un Ballo bert's). in Maschera,"

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Cornets.

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Printed by HIXDERSON, RAIT, and FENTON, at No. 13, Winsley Street, Oxford Street, in the Parish of Marylebone, in the County of Niddlesex.

Published by Joey Boon, as tho 0000 of BOOK SONA 28 Holles Street - Saturday, Norember 1, 1862.

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"the Worth Of Abt Appears Most Eminejit In Music, Since It Requires No material, No Subject-iiatter, Whose Effect Must Be Deducted: It Is Wholly Form And Power, And It Raises And Ennobles Whatever It Expresses."Odthe.

STTBSCBIPTION'-Stamped for Postage-20s. PER ANNUM Payable in advance by cash or Post-Office Order to BOOSEY & SONS, 28, Holmes Street, Cavendish Sq. London, Vf.

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MDLLE. LOUISA VAN NOORDEN'S CONCERT, St. James's Hall, Thursday 13th, commence at Eight. Mr. Sims Reeves, Mdlle. Florence Lancia, Miss Lefller, Mdlle. Gtonrt, 8ig. Fnrtuna, Mr. Lawlcr; Piano, Mr. Van Noorden and pupil; Violin, Herr Pellltzer; Violoncello, Herr Lidcl; Conductors, Messrs. Charles Salaman, Frank Mori, and Fiori. Tickets, la., 2s., M., 6s., and 10s. 6d. May be had at the principal Musicsellers, Austin's, 38, Piccadilly, and of Mdlle. L. YanNoorden, 115, Great Russell Street, Bedford Square.

MUSICAL SOCIETY OF LONDON.—Fifth Season, 1863.—The following is the proposed SCHEME for 1863:—At St. James's . Four Orchestral Concerts, on Wednesday evenings, January 28, March 25, April 22, and May 27. Conversazione, June 24. Orchestral Trials of New Compositions, February 25 and November 4. At the Marylcbone Institution, Choral Practice, 25 meetings, commencing January 6, and ending December 22. Annual General Meeting of the Society, February 4. Conductor of the Orchestra, Mr. ALritzD Mellox; director of the Choral Practice, Mr. Henry Smart. Members' tickets for 1863 will be ready for delivery at Messrs. Cramer and Co's, 201, Regent Street, on or after December 1,1862. Reserved seats not retained by the 26th instant will be forfeited. Information relative to the admission of new membjrs may be obtained of Messrs. Cramer and Co.; or of the Honorary Secretary.

CHARLES SALAMAN, Honorary Secretary, St. James's Hall, 36, Baker Street, Portuian Square.

rpHE ENGLISH GLEE AND OPERA UNION,--

I Madame BuiOiETT Gilbert, Miss Eur.A Travem, Madame Lacba Leslie; Mr. Stakley Mayo, and Mr. A Mum Tiiomas. Conductor, Dr. Bennett Gilbekt. For terms, apply to Mr. Stanley Mayo, Sec., 116 Cambcnrell, New Road, 9.

ENGLISH OPERA ASSOCIATION (limited).— Application for Shares should be made forthwith. Forms and prospectuses, and every information may be obtained at the Company's Office, 69, Regent Street, and at all the principal musicscllers In town and country.

MARTIN CAWOOD, Secretary..

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