Letters to the Editor.

REGISTRIES.

SIR,-Though not one of your legal readers, I have sufficient knowledge of the law regarding the copyright of titles to entertainments to inform "Golden Star" that for a very few shillings she can register the name of her entertainment at Stationers' Hall, and thus prevent other companies from "assuming the same title.” SILVER MOON.

Yours, &c.,

"TO THEE."

an opera but a medley of vocal and instrumental pieces selected at random, which had little or no interest for the general public.-The concerts of classical music for the people, founded and directed by M. Pasdeloup, continue to draw large crowds to the Cirque-Napoleon. The London Monday Popular Concerts no doubt furnished M. Pasdeloup with the idea for his new entertainment. I heard the "Eroica" symphony of Beethoven extremely well executed the other evening, listened to attentively, and applauded warmly. So you see classic music for the million has a chance in Paris as well as London.

COLOGNE. The first Gesellschafts Concert of the Season, under the direction of Herr Ferdinand Hiller, took place in the Gürzenich, on Tuesday, 21st October. The following was the programme:FIRST PART.-Overture to Oberon, Weber; Aria, "Der Tod Jesu" Graun, (Herr Jul. Stockhausen); three four-part songs for chorus, without accompaniment violin, Spohr, played by Herr Grunwald; Three Songs with pianoforte accompanifrom Edipe a Colonna, Sacchini, sung by Herr Jul. Stockhausen; Concerto for ment, ("Herbstlied," Mendelssohn; "Inder Framdo," Schumann; "Wilkommen und Abschied," F. Schubert ;) sung by Herr Stockhausen. SECOND PART.-Sinfonia Eroica, Beethoven.

[An ironical dedication to the composer of "My own my guiding star" might answer the purpose.-ED.]

PARIS.

(From an occasional Correspondent.) PARIS, NOV. 4th. Another week has passed and still I have nothing novel or particularly interesting in the musical way to recount to you. Everywhere preparations are being made for great events, but no actual accomplishment has taken place. Of the Grand Opera I have nothing to state except that Mario will make his debut in La Muette de Portici on the 14th. This has been definitively settled.-At the Théâtre-Italien the Barbiere has been given with Alboni, Signors Gardoni and Delle Sedie. Rosina was incomparable, Almaviva fluent and loverlike, and Figaro anything but funny. On the second night of the performance of the Barbiere, Signor Gardoni being indisposed, a new tenor, Signor Danieli, made his first appearence as the Count. The Parisian press, I think, have been too hard upon this gentleman, who, in my opinion has much talent. In the case of the new tenor a " Daniel has come to judgment" with a vengeance. The Cosi fan tutte it is said, will be produced on the 16th, and Madlle. Patti will make her debut before a French audience—an awful ordeal where a high reputation has been previously won. The Parisians desire all artistic fame to be derived through them. The director, I have been told, has discovered a new Tamburini and is putting Semiramide in preparation for him, Alboni, and Madame Penco. He is called Signor Agnesi and has earned, according to some accounts, a great name in certain parts of Italy. Nothing is more wanting on the Italian stage than a good baritone. To sing the music of Assur the performer must not be only a good baritone but a good florid baritone, which is better than a good baritone. Signor Agnesi, it would seem, is not only a good baritone but a good actor to boot, else M. Calzado would have not selected for his first appearance the most difficult part for a baritone in the whole range of the lyric drama. The Théâtre-Lyrique opened in the new building on the 30th of last month under the direction of M. Carvalho. The interior is very handsome and commodious and has been likened to the Salle Ventadour. The sonority is admirable, the greatest pains having been taken by the architect to secure the conformation of structure best adapted to the required acoustic purposes. With respect to the new mode of lighting from a huge sort of gas-sun fixed in the ceiling and covered with a glass globe, in place of the customary chandelier suspended from the roof, and candelabra surmounting the boxes, there are differences of opinion. Some contend that it is a great improvement and a great saving; others insist that it spoils the look of the theatre, too much glare being projected into the body of the house. The ladies are decidedly on the opposition side, affirming that their toilettes are submitted to too bright a scrutiny. I am not sufficiently interested one way or the other to give an opinion, but rather incline to vote against the ladies. The candelabra were a great nuisance to those placed immediately above them; and their removal at all events is a special benefit. The new company is unusually strong, and comprises the names of Mesdames Viardot, Miolan-Carvalho, Marie Cabel, Faure-Lefebvre, Mdlles. Girard and Moreau, MM. Battaille, SainteFoy and others of lesser note. The inauguration performance was not

The programme was materially affected by the presence here of Herr Julius Stockhausen, and, in consequence, as an exception to the very praiseworthy custom of former years, did not comprise any grand general performance at the commencement of the winter season. Sacchini's air is fine music, though more lyrical than dramatic. Herr Jul. Grünwald gave a masterly performance of Spohr's ViolinConcerto, his playing was full of vigor and grace. Herr Grünwald has reached a degree of perfection which places him on a level with some of the greatest violinists of the day. The execution of the Overture and Symphony under Hiller's admirable guidance was worthy the opening for the season of so important a concert-institution as that of Cologne. At the next concert on the 4th November, when Mendelssohn's St. Paul will be performed, the chorus will have an opportunity for the display of all its strength, and step beyond the limits of the modest part which fell to its lot on the present occasion.

66

LEEDS-(From a Correspondent).—Several concerts worthy of being recorded have taken place here, and as I have not seen any notice of them in your columns I send you a short account. First, Thalberg gave a "Pianoforte Recital" on the 14th inst. His programme was ample and varied, and his admirable playing, whether of Mendelssohn's Lieder ohne Worte, his own arrangements from operas ("The Art of Singing applied to the Piano"), or his more brilliant fantasias, such as his new" Ballade," and the celebrated “ Preghiera," from Mosé in Egitto, alike charmed an audience which, if not so numerous as might have been expected, was a select and decidedly an "appreciative" one. M. Thalberg having expressed a wish to hear our Grand Organ, the borough organist performed before him next day; and at the conclusion of the concert M. Thalberg sat down at the organ trying the different effects produced, and before leaving expressed himself warmly in praise of the noble instrument. The programme performed before him was on the following day repeated by desire, and as there has been some discussion lately as to what organ programmes should be, I enclose it as a fair average specimen of those weekly performed here :-1. Organ Sonata (C Minor), Mendelssohn; 2. Song, "Ave Maria," Schubert; 3. Organ Fantasia, in B Major, W. Spark; 4. Funeral March (Op. 26), Beethoven; 5. Andante, A Flat, from Symphony in E flat, Mozart; 6. Overture, "Fidelio," Beethoven.

On the 18th ult., the Leeds Town Hall Concert Society commenced their winter campaign with a concert, at which Mdlle. Patti, Signor Ciampi, Herr Laub (violin), and Herr Alfred Jaell (piano), were the principal performers. The merits of these artists are, doubtless, wellknown to all your readers. I will only mention, therefore, that Mdlle. Patti's perfect vocalisation gained her an enthusiastic reception, and that the instrumental performance of Herr Laub and Herr Jaell was such as we rarely hear. The same society gave another concert on the 22nd, with Mdlle. Titiens, Mdlle. Michal, Signori Giuglini, Bossi, Badiali and Herr Formes; all these artists are well-known in Leeds, and the Hall was filled with an audience who would have encored almost every piece if the performers would have consented to repeat them. A noteworthy feature in both these concerts was the introduction of the organ, both as giving our visitors an opportunity of hearing it, and affording, especially in the latter one, a sensible relief to a concert which must otherwise have a somewhat monotonous character from being entirely composed of vocal pieces. I must not forget to mention the Penny Concerts given under the direction of the Leeds Working Men's Institute, on which occasions the Victoria Hall is usually filled to overflowing with an audience of working men and their wives, who are invariably delighted with the entertainment afforded them. During next month we expect Mad. Arabella Goddard, accompanied by Mons. Sainton and other artistes, vocal and instrumental. As to what concerts will be given after this we are left in darkness.

From the Niederrheinische Musik-Zeitung.

ST. JAMES'S HALL,

REGENT STREET AND PICCADILLY.

and not unfrequently incomprehensible contemporaries as anything more than words and phrases-words of the longest and phrases of the most involved. But, alas! we

TO ADVERTISERS.-Advertisers are informed, that for the future the Advertising Agency of THE MUSICAL WORLD is established at the Magazine of MESSRS. DUNCAN DAVISON & Co., 244, Regent Street, corner of Little Argyll Street (First Floor). Advertisements can be received as late as Three o'Clock P.M., on Fridays-but no later. Payment on delivery. Two lines and under

TERMS {Every additional 10 words

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2s. 6d. 6d. TO PUBLISHERS AND COMPOSERS-All Music for Review in THE MUSICAL WORLD must henceforth be forwarded to the Editor, care of MESSRS. DUNCAN DAVISON & Co., 244, Regent Street. A List of every Piece sent for Review will appear on the Saturday following in THE MUSICAL WOrld. TO CONCERT GIVERS.-No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in THE MUSICAL WORLD.

The Musical corld.

LONDON: SATURDAY, NOVEMBER 8, 1862.

sentences about the quartets in general, and the sixth quartet (the bone of contention) in particular.

The last of the famous set which Mozart dedicated to his predecessor, contemporary, and survivor, Joseph Haydnhis rival both before and after death, while, at the same time, his warm friend and enthusiastic admirer-the quartet in C major is included in the catalogue, drawn up by Mozart himself, of his labours, from February 9, 1784, to Nov. 15, 1791 (inclusive), and was written in Jan., 1785—the same year as its companion quartet in A, the pianoforte concertos in D minor, C, F, and E flat major, the quartet for piano and strings in G minor, the fantasia for pianoforte in C minor, and other works. The complete set was published in 1785. Mozart's reverence for Haydn was never evinced in a more emphatic manner than by the pains he took and the time he spent in order to render these quartets worthy the illustrious master to whom they were subsequently inscribed. "They are the fruits of long and toilsome labour," is one of the phrases in the dedication. How highly Haydn thought of them and their author may be gathered from what he said to Leopold Mozart (the great composer's father), after three of the quartets had been played through:*-"I tell you in the face of Heaven, and as an honourable man, that I look upon your son as the greatest composer of whom I ever heard." And yet the celebrated Italian musician, Sarti, in some critical remarks on the quartets, observed:-" Si puo far di più per stonare gli professori?"-("Can more be done to put the players out of tune ?")! And so all original musical inventors have been judged by pedants-from the first, who defied Pope Gregory, down to Beethoven, who defied the world.

Sarti, by the way (himself an innovator in his time), made a very different impression on Mozart from what might be guessed, judging him by his stilted criticism on the Haydn quartets. In a letter to Leopold Mozart, dated Vienna, June 9th, 1784, the illustrious musician writes :——

"To-morrow there is to be a concert at Herr Player's, at Döbling, in the country. Malle. Babette will play the new concerto in G. I shall play the quintet, and together we shall give the grand sonata for two St. Petersburg, has been staying here since the 1st of May, and he shall pianos. I shall go in a coach for Paesiello, who, on his return from hear my compositions and my pupils. If the maestro Sarti had not been obliged to leave for Russia this very day, he would also have come with Sarti is a fine fellow, an excellent fellow! I played a great deal to him, and finished with some variations on an air of his own, which gave him great pleasure."

me.

In the same letter where Leopold Mozart (writing to his daughter) describes the effect produced upon Haydn by the three quartets (Nos. 4, 5, and 6, of "Op. 10"), we hear that the wonderful concerto for pianoforte and orchestra, in D minor, has just been completed. "Wolfgang"---says the

The fourth (in B flat), the fifth (in A), and the sixth (in C); the last of which was completed Jan. 14, 1785; the second, Jan. 10, 1785; and the first, Nov. 9, 1784. Of these, Leopold Mozart writes:-"They are a little easier than the others, but always perfectly composed." The "little easier,” nevertheless, hardly seems to apply to the No. 6, in C major, about the opening largo of which there has been so much controversy.

In E flat, for piano, oboe, clarionet, bassoon, and horn-introduced (by Mr. Benedict) at the Monday Popular Concerts.

In D, frequently performed in public by Miss Arabella Goddard and M. Hallé.

The celebrated Italian dramatic composer, rival of Cimarosa, and prede cessor of Rossini, long before he had set the libretto of the Barbiere di Siviglia to music-a version as popular in its day as that of Rossini afterwards.

Crown Diamonds and the Domino Noir, we cannot help thinking that the subjects would be more properly used in drama than opera. Something more than a plain unvarnished tale was perhaps demanded by the French Grand Opera; but still entanglement and confusion should be eschewed, and the story in all its changes, surprises and elaborations should necessitate no labor of the understanding. The book of the Huguenots is one of the most improbable ever written, but the plot is so lucidly and satisfactorily evolved and the scenes follow each other in such natural succession, that the mind is never at a loss to follow the thread of the narrative. If asked what operas possessed the most perfect librettos, we should point to the Sonnambula, Fidelio, La Gazza Ladra and Norma, without hesitation. In the books of these work, there is no complication, no latent intrigue, no intricacies of incident and situation, no problem to be solved. All is simple and easy, and the circumstances arise without premeditation or artifice. Another necessity in the plot of an opera besides clearness of narration and simplicity of construction is that there should be a love story of interest. Without this an opera has but slender chances of success. We may, indeed, instance some of the masterpieces of the lyric drama as almost entirely devoid of love interest-such as Guillaume Tell, Masaniello, the Prophete, Semiramide, Don Giovanni, the Marriage of Figaro, &c.; but this again only proves the supremacy of genius, and its power of surmounting obstacles the most insurmountable. As a rule, we may take for granted that an interesting love story is the first requirement of an opera book.

The libretto to which Mr. Wallace has wedded the latest effort of his muse fulfills neither of the above conditions. Love's Triumph is not free from perplexity, nor does it involve a tale of the heart calculated to delight and absorb. Mr. J. R. Planché has borrowed his subject from a comedy in three acts, by MM. Melesville and Laya, entitled Le Portrait Vivant, produced about twenty years ago at the Théâtre Français in Paris. As a comedy of intrigue, Le Portrait Vivant is not undeserving of commendation; no piece, however, could be less happily suited to the purposes of lyric treatment. The adapter has not improved the original by his alterations, and it is somewhat curious to find so expert a writer and so clever a tactician falling into the violent mistake committed in the last act. In the original drama the Princess alone appears, and the portrait of Theresa suffices to elucidate the denouement. In Love's Triumph Mr. Planché brings Theresa as well as the Princess bodily on in the last act, and makes the two characters, sustained by one individual, play a game of bo-peep throughout the final scene-very striking and amusing, no doubt, in a burlesque or pantomime, but entirely antagonistic to all legitimate effect in an opera. It was, indeed, surprising, and must have afforded abundant entertainment to many to behold Miss Louisa Pyne hiding from herself and watching herself from behind a place of concealment where the profile of a skirt was made to stand proxy for her individuality: What admiration must have been excited for so new and unexpected a contrivance! What wonder at the rapid exchange of garments, suggesting curious comparisons between the prima donna and the famous polyphonist in King William Street! Who is Miss Pyne now? Theresa or the Princess? Strange that Mr. Planché should have so erred; still more-seeing that authors are often blind to their own faults that neither composer nor manager should have protested.

R.

ENGLISH OPERA ASSOCIATION.

To the Editor of the MUSICAL World. SIR,-With reference to a letter emanating from Mr. George Scott dated from 429 Strand, which appeared in your last weekly number, your readers cannot but perceive some motive of no very friendly character towards the Association. Its object is too plain to admit of a doubt. Mr. Scott and Mr. Thomas II. Baylis of the defunct Consols Assurance Office, from whence this letter is dated, Opera Association, and at the Annual meeting of the Shareholders were no doubt with other gentlemen, promoters of the English in June last to which Mr. Scott in his letter refers, that gentleman was anxious to occupy the post of paid Auditor, but so averse did the Members seem from availing themselves of his proffered service, that Mr. Addison of the firm of Addison and Lucas of Regent Street, and Mr. George Wood of the firm of Cramer, Beale and Wood, were unanimously elected Auditors. Hence probably arises the desire in the breast of Mr. Scott to pick a quarrel and induce a discussion, and hence also his letter addressed to you. The names also of the Executive Committee, the election of whom I believe to be perfectly regular (as well as the proceedings generally) I give you, and as I believe, nothing would satisfy this disappointed individual but a paper war, I decline to engage in it, and leave him to his remedy, if any he has. The General Meeting of the 18th June was most harmonious, and the Executive Committee to the public that there money will be properly and honorably are Gentlemen of the highest standing and position, and a security applied to its intended use. The names and addresses of the Committee and Auditors are as follows:

EXECUTIVE COMMITTEE-The Right Honorable the Earl of Westmoreland, C.B., 8 South Audley Street; J. H. Arkwright, Esq., Hampton Court, Leominster; the Honorable F. H. F. Berkeley, M.P., 1 Victoria Square, Pimlico; Frederic Davison, Esq., 24 Fitzroy Square; Colonel H. P. De Bathe, 12 Great Queen Street, Westminster; the Honorable Seymour G. Egerton, 7 Grosvenor Square; Chandos Wren Hoskyns, Esq., Harewood Ross, Herefordshire; Edward James, Esq., Q.C., 24 Upper Wimpole Street; R. B. Oakeley, 67 Kensington Gardens Square; Alexander H. Ross, Esq., 60 Portland Place. AUDITORS-Robert Addison, Esq. (Addison, Hollier and Lucas), 210 Regent Street; George Wood, Esq. (Cramer, Beale and Wood), 201 Regent Street.

I may add, there are already upwards of 2,700 shares subscribed for, and many of the most influential men are ready to double their subscription in order to have a sufficient amount of money in hand, and for contingencies in case they should arise. I am, Sir, your most obedient servant, WILLIAM FRANCIS LOW (Solicitor to the English Opera Association).

77 Wimpole Street, Cavendish Square.

MONDAY POPULAR CONCERTS.

66

To the Editor of the MUSICAL World. DEAR EDITOR,-Allow me as usual to put in two words. The experiment of commencing the Monday Popular Concerts a month The last earlier than usual has been attended with great success. James's Hall, where Mr. A. Chappell had announced programmes, two Monday evenings have witnessed extraordinary crowds at St. which, in the language of the Weissnichtwo'sche Anzeige were of such internal quality as to set neglect at defiance." The chief attractions at the concert on the 27th ult. were the quartet in E flat, Op. 12, of Mendelssohn, sonata in F, Beethoven, Op. 54, and Hummel's septet in D minor. The quartet of Mendelssohn Midsummer Night's Dream music, the Paulus oratorio, and the emanated from the period of his life which gave the world the symphony in C minor (his first I believe, though the chronology of his symphonies is much disputed, and I have not Mr. Benedict's admirable biographical sketch at hand). Many parts of this remarkable quartet exhibit similar proofs of genius to those of the works above alluded to; but the Midsummer Night's Dream is most frequently brought to mind. Let the frequenters of the Monday Popular Concerts (for to these, and to none other, do I canzonetta, and the unison passage in G minor, and the identity of address my writing) call to mind the episode in G major of the creative genius is at once apparent. The finale of this quartet is Ia miracle of impetuosity and vigor.

The middle period of Beethoven's art career can hardly be better illustrated than by the performance of his sonata in F (Mr. Charles Hallé). Though in two movements only, (which are, as here shown, ample for purposes of contrast) the increasing interest that belongs to the works of a more extended scheme does not fail. The staccato subject in octaves, treated in a fugal manner, (and let the cavillers at the science of music say what they like, the greatest musicians are never more great than when they are most scholarly,) is the most impressive passage to my mind, in the whole sonata. The septet of Hummel, played by M. M. Hallé, Pratten, C. Harper, Barret, Webb, Severn, and Piatti, was doubly acceptable, as the work of a master not sufficiently known to English audiences, and as an assemblage of some of the most renowned players in Europe on their respective instruments. Haydn's beautiful trio in G major concluded this concert, at which the singers were Miss Lascelles and Mr. Haigh. Miss Lascelles sang "In questa tomba" (with the erroneous C for the last note) with much emphasis and correct phrasing; also a ballad of Mr. G. Macfarren's called "Lily Lye."

On Monday last, the concert commenced with Beethoven's septuor in E flat, played by Messrs. Joachim, Webb, Piatti, Severn, C. Harper, Hutchins, and Lazarus. This is perhaps the most renowned of all Beethoven's chamber compositions; and such it will continue to be, for it contains some of his highest inspiration, and his greatest artistic skill; and as a specimen of felicitous treatment of the various instruments employed, it stands unrivalled. Let the "Adagio" in A flat, and the Scherzo e Trio" (in which latter the playing of Signor Piatti was beyond praise) stand for specimens. Mozart's graceful sonata in B flat (which we must particularise in the language of the programme, as No. 8 of Mr. Halle's edition), played by Mr. Charles Hallé, was a great treat, and none the less so from contrast, as it came between Beethoven and Mendelssohn. The fragments of the posthumous quartet of the last-named composer, although, alas! too brief, are neither "weak" nor "tedious." Let any one hear the Scherzo Leggiero in A minor before they pronounce, and then, strong in their honest conviction, defy the Athenæum. This concert ended with Weber's beautiful quartet in B flat, a piece which causes much regret that there are so few of his works for the chamber. It would be difficult to find a song more adapted to Miss Banks' perfectly correct sing ing and melodious voice than the "Skylark," of Glinka. It would be very difficult to find a singer more able to do justice to the Russian composer's transparent and pathetic melody than Miss Banks. The young lady's other song at the last concert was Mr. Henry Smart's "Dawn, gentle flower." The magnificent voice and incomparable singing of Mr. Santley were also exhibited on Monday last.

On the 27th of October, Herr Joachim played Bach's prelude and fugue (for violin alone) in C major, and at the last concert, the celebrated and unapproachable Chaconne in D minor. That the Hungarian violinist-beyond doubt, the greatest performer living-should perform these marvellous works with graceful ease might be expected; that he does, by his sympathetic genius, impress his auditory with the great beauty of melody and the passionate expression of Bach's writings (and this even in his most complicated and difficult passages) is a proof that we have now amongst us one of the greatest executant artists of any age.

Dear Editor, Farewell. I have read next Monday's programme through, and there will be much to discourse on. Yours faithfully, N.

[We insert this letter of our lively correspondent, without endorsing his opinions en gros, or quand même. ED.]

MDLLE. TITIENS does not go to the United States---at least not at present. MOLLE PATTI, having terminated her "provincial" wanderings, has passed several days in London, en attendant her departure, to fulfil her engagement, at the Paris Italian Opera. She was present at the first and second performances of Mr. Wallace's new opera.

MADAME TONNELIER, the new prima donna, will appear for six nights, commencing this evening, Saturday, Nov. 8th, in English Opera, at Sadlers' Wells. She makes her debut as "Leonora," in Il Trovatore.

ORGAN APPOINTMENT.—Mr. Edmund Barnes, Professor of music, School for the Blind, St. John's Wood, to succeed Dr. E. T. Chipp, at Holy Trinity Church, Westbourne Terrace, Hyde Park.

|

REIGATE-The following correspondence appeared in The Surrey Standard, of Saturday Oct. 25, relative to the severe criticism on the vocal department of Mr. Thurnam's late concert :—

To the Editor of the SURREY STANDARD.

Sir, I have read with surprise and indignation the first of two reports of Mr. Thurnam's late concert, inserted in your paper of Tuesday last, which is so unjust towards the singers engaged on that occasion, that in fairness to those artistes and to Mr. Thurnam, I cannot allow it to pass unnoticed. As a professional man, I desire to protest strongly against such presumption and positive falsehood as the writer of the paragraph was guilty of. The concert gave the greatest possible pleasure to all present who were free from prejudice or private jealousy. Wherever these artistes have appeared of late (Portsmouth, treat of listening to such music, and I subjoin an extract from the Brighton, and Exeter) the various accounts agree as to the immense Musical World relative to this talented party:

"The 'grand touring party' engaged for the autumn months by Mr. Land, including Mad. Gassier, Malle. Marie Cruvelli, Mr. Swift, Herr Herrmanns, Sig. Bottesini, M. Sainton, Mad. Arrabella Goddard and Mr. Land himself (as conductor), started on Thursday afternoon for Southsea, near Portsmouth, where their first concert was to take place on the same evening. This day they will be heard at Brighton. A

company more varied in attraction has rarely been sent out to explore the provinces. My own opinion is that the concert at Reigate was, on the whole, the grandest and most successful ever given in that neighbourhood, and this opinion, I have no hesitation in saying, is shared in by all the most competent to judge of such matters. This I know from frequent intercourse with very many of those who were present. I am sure the thanks of the Reigate public are especially due to Mr. Thurnam for the late delightful musical re-union, and I have very great pleasure in testifying to that gentleman's professional ability, as well as to have the opportunity of thus publicly recording the high esteem and friendship I entertain towards him. In conclusion, I have only to add that the second report which appeared in your journal, headed" From an Occasional Correspondent, " represented most accurately public opinion in reference to the concert. I rely on your sense of justice for the insertion of this letter, as I think that false statements should not be permitted to pass current without censure and correction. I am, &c.,

E. J. R. RUSSELL, (Professor of Music, and Organist of St. Martin's.)

Dorking, Oct. 23rd, 1862.

Sir,-As a musical amateur of Reigate, and one who has taken considerable interest in everything relating to music in this neighbourhood, I beg to express my utter astonishment and disgust at the first report of Mr. Thurnam's late grand concert, which appeared in your journal of Tuesday last. Allow me to say the report in question was not only untruthful, but written in a mean and ungenerous tone throughout. In fact it is patent to every one here that the writer of the paragraph was actuated by a feeling of petty jealousy towards the gentleman to whom we are so much indebted for the grandest musical treat the people of Reigate have ever enjoyed, as no allusion whatever is made to Mr. Thurnam, the promoter of the concert, in the very incorrect report inhabitants of Reigate. As I have before said, we are greatly indebted to which I allude, and which does not represent the feeling of the to Mr. Thurnam for this splendid concert, and for all that he has done in establishing a taste for good classical music, and I should be glad to know whether or not there is any chance of that gentleman being able to fulfil a partial promise made to the public some time since relative to the engagement of Madame Lind Goldschmidt during the present I am, &c., AN AMATEUR. Reigate, Oct. 22nd, 1862.

season.

ROYAL ACADEMY OF MUSIC.-A chamber concert by the students took place at the Institution, Tenterden Street, on Wednesday evening week, in presence of a large audience. The vocalists included the Misses Armytage, Lucy Chapman, Hulbert, McDonald, Emily Patti, Upton, Thomas, and Mr. Wallace Wells; the instrumentalists, Messrs J. Hill (violin), H. Harper (violoncello), Misses Brinsmead, Madalena Cronin, Urry, Zimmermann and Mr. T. W. Walstein (pianoforte). In the vocal music Mr. Wallace Wells received the greatest share of applause, in a manuscript song by Mr. F. Westlake, entitled "Amanda"; and in the instrumental, Miss Zimmermann and Mr. J. Hill in Beethoven's Kreutzer-Sonata, and Miss Brinsmead after Mendelssohn's "seventeen variation serenades was recalled with enthusiasm, and it may be added with justice. This young lady does infinite credit to the teaching of her master Mr. William Dorrell.

"

HERR ALFRED JAEL, the pianist, having finished his tour in the provinces with Mdlle. Patti's party, has returned to the continent. MISS GRACE LINDO, the vocalist, is in Paris, where she will remain during the season.