The Camden Literary And Scientific Institution. — On the evening of Wednesday, 29th inst., the second of a series of Lectures upon "Music" was delivered by Mr. Joseph Goddard. The lecturer in his treatment of the subject, reviews a strain of Music, first with reference to its production, secondly with reference to its notation, thirdly with regard to its artistic forms, and lastly, to that of its moral purport. The previous lecture being devoted to the consideration of the production of musical sound, the one delivered recently was devoted to the consideration of Musical Notation. Mr. Goddard recapitulated the generally known facts relating to the history of Musical Notation, that of its being first attempted by the Greeks; the reduction of the names of musical sounds to the first seven letters of the alphabet, by St. Gregory, in the 6th century ; the gradual adoption in the different parts of Europe of lines to indicate particular pitches of sound, of points or dots to signify the sounds themselves, and of clefs, which Dr. Burny states are old Gothic letters modified, which occurred between tho 6th and the llth centuries j the ultimate conformation of all these crude materials into the likeness of the present system, by Guido Arctinos, in the llth century; and, lastly, the "fact of the present system itself being completed so recently as the middle of the 17th century. In the course of recapitulating these details, Mr. Goddard gave an illustration of the primitive style of ecclesiastical composition in a chant in use before the llth century. lie took occasion to remark upon the uniqueness, massiveness, aus terc dignity and sombre grandeur of these primitive germs of musical art. He regarded them as amongst those works of the past, the peculiar expression of which cannot be reproduced in modern times, not through lack of mental strength, or originality, but because the mind itself has passed into another phase of existence. The lecturer alluded to the Paradise Lost, and the English Liturgy, as having been produced when the central channels of thought for the human race were being excavated, and only the high paths of religion and morality explored. He remarked that such works sprang out of a past condition of the mind, as the hills from a past condition of Nature, which overhang the present, but cannot be repeated in it. Towards the conclusion of his discourse, Mr. Goddard remarked, alluding to the long period in which, in the history of the art, the field lies fallow,— that before ultimate, distinct art can be manifest, forms of art have first to be developed ; that these forms are produced not in the action of any subordinate impulse, but only out of the pure artistic energy itself j that art, like a river, has to effect its own channel, and that thus, as in the case of a river, a great portion of its first tribute is absorbed in conforming its course of manifestation ere its subsequent waves can glide in purity to the ocean. This consideration led the lecturer to make some passing observations upon the constitution of the human mind, as revealed in its action with reference to art. He remarked how plainly observable in art investigation is the truth that the mind instinctively attaches to itself the results of previous minds as primitive data for itself, as the basis and beginning of its own operations. That, as it arises in each of us, it does not start again or begin a new life, but simply continues one amassed existence ; that this, even on this earth, is immortal j that the gems of art have been for generations being consummated in the human mind, as precious stones in the earth. The lecture was illustrated by diagrams and examples, and appeared to have elicited the approbation of an appreciative audience.

The Hanover Square Rooms. (From the Buildei:)—There are few inhabitants of the metropolis who do not connect with the Hanover square Rooms interesting associations, — who do not remember agreeable evenings, pleasant meetings there. Coming into the hands of Mr. Cocks, the well-known music-publisher and something more (we have his almshouses in view), they have been redecorated, and now. present a very bright and agreeable aspect. The ceiling of the large room (the only decorations of which previously to these alterations were the old pictures by Cipriani) has been ornamented with enrichments in composition and "carton pierre ;" a trellis pattern being placed in the bands across the ceiling, and a laurel in the longitudinal bands, with a crest ornament on the ceiling round each panel. The pictures themselves are left: and we can scarcely blame the act ; but they produce the effect of dark spots. The panels are painted pale green, relieved with white and gold enrichments, and a small margin of light red. The panels of the transverse bands are cobalt blue, with white and gold enrichments and pink margins. The fluted pilasters on the walls have been retained, but the cornice over them has been deepened about 7 inches, and has been enriched by the addition of mouldings; and with festoons of fruit and flowers to the frieze all round. The old royal box has been entirely removed, and a new one reconstructed in wood and " carton pierre," surmounted by an arched top, handsomely enriched, having a lozenge with the royal cypher supported by the figures of two boys j the top being supported by two

: pilasters and the figures of two female Caryatides terminating in scroll 'work, with fruit and flowers running down tho panels of the pilasters.

Looking-glasses are made to add to the effect of this end of the room, j The front of the orchestra has been ornamented with musical trophies ! and festoons of fruit and flowers, with medallions placed over the two doorways at the sides. The organ has been removed, and a coved recess formed, with a looking-glass inserted. The pilasters are finished white and gold ; the cornice mouldings the same; with a cobalt blue frieze, and white and gold ornaments. The walls are a warm grey, with panels of two light greens. The panels over the looking-glasses are each filled with a medallion, painted in bas-relief, of some of the most celebrated composers — Bach, Beethoven, Handel, Haydn, Weber, Rossini, Purcell, and others, with their names, and the century in which they flourished. In the two wide panels in the orchestra are painted medallions of Calcott and Bishop. The plinth round the room under the pilasters is decorated in imitation of various coloured marbles. Tho royal box is finished in white, buff, and gold, with paintings representing Peace and Plenty, and the Four Seasons (these latter four are not yet fixed), and crimson and gold damask hangings. The old method of lighting by means of sunlights has been dispensed with, and a novel mode of lighting has been introduced by suspending from the ceiling, along each side, hemispheres of silvered glass, with the flat sides upwards, having twelve jets to each, radiating to the centre, in a star-like form underneath. The tea-room adjoining has had an ornamental ceiling put to it, with other decorations of a suitable character. The lower room has also been embellished. The contractors for the general building works and part painting were Messrs. J. & H. Cocks, of Mile End; the "carton pierre" and composition enrichments were executed by Messrs. Jackson of Rathbone Place; the painting, gilding, and other decorative works, by Mr. Charles Smith, of Upper Baker Street, assisted by Mr. Earle, artist; and the gas-fitting is by Mr. D. Hulctt, of Holborn. The whole was done in ten weeks, under the direction of Mr. Thomas Dyke, architect. The Hanover Square Rooms are about commence a new life, and we have no doubt it will be a merry one.

Mlle. Patti At Brussels.—" L'inimense suecea de Mile. Patti est, a nos yeux, pleinement justtfio par les remarquables qualites que L'intcressante artiste dovoile li cliacune de ses nouvelles representations. Jeune, 18 ans, jolie, pleine de distinction, la nature s'est plue a la combler de toutes ses faVeurs. A une organisation d'elite, a une intelligence de premier ordre, elle a prodiguc la plus merveilleuse voix de soprano qu'on connaisse: facile, douce, pure, sfduisante, draniatique, passionnee; une voix, en un mot, qu'on ne peut entendre sans rester profondement impressionnti. Couime si son ecuvre n'otait pas assez complete, la nature lui a donne encore la precieuse qualite sans laquelle on n'est pas artiste accomplie: elle en a fait une grande comedienne. Merite quelque peu sacrific par le temps qui court, vu que l'art de jouer la coincdie, semble pris au rebours twee une persistance incroyable, par le plus grand nombre de messieurs et dames en possession de l'interpretation du genre lyrique. Aprcs les deux representations de la Somnainbide, qui avaient suffi a mettrc en relief tout ce que cette nature privilegiee renferme de sentiment vrai, le Barbier est venu la presenter sous un nouveau jour; enfin Lucia a complete cette tnnite applaudie sous toutes ses phases. La sentimentale Amino, n'a rien Iaisse a envier it la pimpante Rosine, et la fille pootique de la verte Eterrine, a arraclie bien des larmcs, au spectacle de sa douleur et de son desespoir. Le triomphe de Lucie a depasae les precedents; applaudie ii eliaque passage saillant de son role, Mile. Patti a etc rappclee deux fois, a la fin de chaque acte. Ce soir, la Martha de Flotow; ce sera, on peut le pressentir, un des meilleurs roles de la jeune cantratrice."—Guide Musical.

Musical Obituary.—M. Alexandre Jean Boucher, who was born at Paris on the 11th April, 1770, died there on the 27th December, 1861. He was the father of the violinists of France, and, probably, of the violinists all over the world. He played in all the capitals of Europe, astonishing his hearers by daring feats which nearly approached eccentricity: despite this, however, it was impossible to deny that his powers of execution were most remarkable.

Mad. Herold, widow of the celebrated composer, died, aged only 55, at Paris, on the 30th December, 18G1. Herold himself died in 1833, and from that period Mad. Herold assumed the robes of mourning, and wore them till her death. She fell a victim to her affection. It was in nursing a grandchild, who died a week before her, that she caught the illness which brought her to the grave.

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SEVENTY - THIRD CONCERT, on MONDAY EVENING, February, iRC3, the Instrumental portion or the Programme •elected from the works of BEETHOVEN.


Part I.— Quartet, in C, No. 9. for two Violins, Viola and Violoncello (Eccthoren), MM. Sainton, L. Ries, H. Webb and Paque. Canzonet, "Now summer has departed" (Dussek), Miss Banks. Song, " When Bacchus invented the bowl," Don Quixote(U. A. Macfarren), Mr. Weiss. Sonata appassionata, in F minor, Op. 57, for Pianoforte Solo (Beethoven), Miss Arabella Goddahd.

Part II.— Sonata, in F. flat, Op. 12 (dedicated to Salieri). for Pianoforte and violin (Beethoven), Miss Arabella Goddard and M. Sainton (first time at the Monday Popular Concerts). Song," Dawn, gentle.Dower " (Henry Smart), Miss Banks. Song, "The Wanderer " (Schubert), Mr. Weiss. Quartet, in D, Op. 18 (Beethoven), MM. Sainton, L. Riess, II. Webb and Faqub.

Conductor, Mr. Benedict. To commence at eight o'clock precisely.

Notice.—It is respectfully suggested that such persons as are not desirous of remainlug till the end of the performance can leave cither 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 without interruption.

N' Between the last vocal piece and the Quartet, an interval of Five Minutes will bcallowed. The Concert will finish not later than half-past ten o'clock.

K.B.—The programme of cvery'concert will henceforward include a detailed analysis, with illustrations in musical type, of the sonata for pianoforte alone, at the end of Part I.

Stalls, 5s.; Balcony, 3s.; Admission, Is. Tickets to be had of Mr. Austin, at the' Hall, 28 Piccadilly; CHAPrBLL and Co., 50 New Bond Street, and of the principal Musicsellers.


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 he received as late as Three o'Clock P.K., on Fridaysbut not later. Payment on delivery.

I Two lines and wider 2s. 6d.

dixms l Every additional 10 icords Qd.

To Publishers And Composers.All Music for Review in The Musical World must Itenceforward 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 Adveiiised, can be reported in The Musical Would.

Clje gtusieal Woxh,


WHEN recently we laid bare the low vulgarities and gross impositions of certain places of public amusement, adjuncts to pot-houses, irreverently denominated "Music Halls," and hurled our fulminations against their walls, like a musical Jupiter Tonans, we had not the most remote idea that we were exposing and denouncing at the same time the Crystal Palace, in which entertainments, almost identical in style and character, were and are being given. Yes! where Grisi, Titiens, Patti, Alboni, Mario, Giuglini, Sims Reeves, Arabella Goddard, Vieuxtemps and others, have sung and played the most refined compositions of the mightiest masters of music, may now be heard the "inimitable Mackney," and the "untiring Stead," spluttering the self-same hideous nonsense of

which we gave a few weeks past so striking a sample in the "Perfect Cure." We know that many will not believe us. Indeed it is incredible that the grave and responsible directors of so vast an establishment, in which the grandest musical performance of modern times—perhaps of all times

has taken place; the very atmosphere of which breathes,

or should breathe, all that is classical and elevating in art; which was built, in fact, solely for high aims and noble purposes, should, from any considerations, be induced to desecrate this High Temple of the Muses. Is everything sacrificed to make money? The temptation, no doubt, is strong; but we question if the shareholders congratulate themselves on receiving dividends derived from such a source. Success is everything ; making money is accounted the surest success; ergo — making of money is everything. This is the worldly syllogism- which the directors, doubtless, propound in extenuation of the unworthy uses to which they turn the Palace of Crystal. They insist that by conciliating the lowest tastes, and appealing to the most morbid and dullest understandings alone can any receipts be secured in the winter. At this period of the year music is at a discount beyond the walls of the metropolis; pictures and sculpture show to little advantage in demi-twilight; the gardens are flowerless; the atmosphere is chill; sensible people love their firesides or warm theatres—and so none but fools think of paying Sydenham a visit in the ice-days. But even that large and important class of her Majesty's subjects must be attracted by special lures; and the directors, turning their attention to the astonishing success achieved at the minor Music Halls by a novel style of entertainment, fancied they could provide the same entertainment on a larger scale with increased profit. And so, while this hall exhibited the "inimitable," that the "untiring," and the other the "celebrated," the directors chose to select all three "talents," hoping thereby to entice the whole of the mobocracy of London to Sydenham. Large sections of the lower classes of amusement-seekers have attended these performances; but as the "Inimitable," "Untiring," and "Celebrated," require to be highly fee'd, and as Blondin exhibits at the same time, and necessitates the payment at the doors of two thousand shilling visitors to reimburse him for each several performance, the profits, it may be gathered, are not very large. We believe the directors have been led blindfold into this very extraordinary proceeding, which, if persisted in, will, as sure as glass is frangible, lower the prestige of the Crystal Palace, and in the end weaken its attraction. If the establishment can only be sustained by an " exposition" of clowns, it would be far better to send to Woolwich for a park of Armstrong guns and demolish it at once.

The character of the entertainments now being provided at the Crystal Palace may be guessed at by the song of the "Perfect Cure " which we presented a short time since. But amicable, qualifying persons may pronounce that wonderful specimen of lyric composition as an exception. If it were so, we should be inclined to show some forbearance towards those whom it throws into ecstacies, and to fancy that its whole power lies in its entire unintelligibility. Unfortunately we have two more vocal inspirations of the same kind—one of which is now being sung daily, with the most unbounded applause, at the Crystal Palace—which, as they will confirm the strong impression we have felt on the subject, and excuse the perhaps somewhat impetuous manner in which we have expressed our indignation, we have no hesitation in laying before the reader. The one is entitled "The Nerves," and is asserted in print to be a comic duet. It is usually sung-danced by a tall and a short man, who jump and contort themselves during the refrain in such a manner as to all appearance place tlieir lives in continual and imminent jeopardy. The words are as follows: —

Well, here we are, a funny pair,

Our like was never seen;
Such chaps as us are very rare,

They're few and far between. From doing what we ought to do,

I'm sure we never swerve—
I'm right as houses, so are you,

Oh ! aren't we got a nerve?

A nsrre, a nerve, a nerve, a nerve,
Oh ! aren't we not a nerve?
I'm right as houses, to are you,
Oh! aren't we got a nerve?


I likes my pipe, I likes my glus*,

I likes my friend as well,
I likes to go out with my lass

On Sunday, like a swell.
I does all that a mnn can do,

Her smiling to deserve,
*Ti* wonderful what I go through—

Oh '. aren't he got a nerre?


A nerve, a nerve, &c.

There's nothing in the world like fun,

To find it I go out,
To theatres, when work is done,

And walks my girl about.


I go unto the music-halls,

Where music they preserve, Or unto free and easy squalls—

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Sometimes I go to races, and
I there make many a bet;

But when the tin I've out to hand
I part with great regrer.


To put it off I can contrive,
And so my purpose serve;
Tnit way 1 keep the game alive—


Oh I aren't he got a nerve?

A nerve, a nerve, &c.

I'll go and be a volunteer,
As sure as any gun,


Why, you'll be fit to faint with fear, And cut away like fun.


No, that I'll never do. I'm sure,

Hut still strive to deserve
My country's praises, to secure —

Oh ! aren't he not n nerve?

A nerve, a nerve, &c.

Utterly witless and bereaved of sense as this precious concoction is, we think it surpassed by our second lyric specimen, the writer of which we should most devoutly like to take a chop with any Friday between six and seven at the "Cock" or "Joe's," provided he "stood Sam," as the saying is. We marvel whether " standing Sam " has any connection with Lord Dundreary's brother? Song No. 2 is as follows, and is entitled—


1 look'd in the east, I look'd in the west,
I saw John Bull a-coming according,
With four blind horses driving in the

To look at the other side of Jordan.
Pull off my old coat, and roll up my

Jordan is a hard road to travel I be-

Thunder in the clouds, lightning In the trees,

And what do you think I told him? Was good-bye, Sam, to the next kingdom come,

I'll meet you on the other side of Jordan.

Full off my old coat, &c.

The Sovereign of the Seas she came to

Liverpool, In less than fourteen days, according; Johnny Bull wiped his. eyes, and look'd

with surprise. At the Yankee ship from the other side

of Jordan.

Pull off my old coat, &c.

There were snakes in Ireland not many years ago.

Saint Patrick saw the vermin all acrawlinjr;

He up with his shillelagh and hit 'em on the head,

And he drove 'em to the other side of Jordan.

Pull off my old coat, ftc.

There was such a dreadful shindy and mutiny in India,

Sir Colin Campbell went there, according;

And with our British boys he did tame the

black Sepoys, And he drove 'em to the other side of


Pull off my old coat, &c.

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Can anything add to the degradation involved in endeavouring to recommend such trash to the public and to

familiarise them with it. Would any man in his senses, not acquainted with the facts, believe that sane beings were so numbed and besotted? Our only hope is, that this rubbish may prove, in the end, a manure destined to bestow vitality and growth upon Art.

MUSICAL and theatrical journals swarm in Italy to an extent almost unknown in any other country. They abound in the principal towns, and are to be met with in every village that can boast of a theatre as a place of public resort. They are as rank in their profusion as weeds in a neglected garden. Their means of ensuring a circulation is perhaps peculiar to themselves. They are distributed far and wide, and, to the uninitiated, as it were, gratuitously; a notice, however, generally in type small enough to be overlooked, impresses recipients that, M Chi non respinge i primi due numeri che gli vennano spediti si terra come associate;" according to which, whosoever does not return the first two numbers of the paper senthiui, is sure to be called upon for a subscription.

It is to members of the musical and theatrical professions that these "journals" are thus supplied, and by neglecting the notice, either from ignorance of its existence, or forgetfulness, they become too often the victims of a system of extortion. Debutants are more especially the objects of solicitous attention. A new tenor, no matter whether primo or secondo, after his first appearance, receivers a volley of the paper missiles, a prima donna is overwhelmed, and a contralto surprised, and, at first, perhaps flattered to rind herself addressed from all quarters by their energetic editors. The manner in which art and artists are treated in many of these prints is singularly familiar. The following literal translation of the "Notices to Correspondents" in a recent number of the Croce di Savoia a Florentine publication, affords a striking example of the style in vogue:—

Correspondence of the Croce di Savoia, Jan. 3.

"We wish Signori Giuseppe Biozzi and Carlo Biondi a happy new year, and hope they will not forget the 10 francs they owe us."

"naples. — Siguor Scttiinio Malvczzi. You are requested to send us the amount of your subscription which you owe, and for which wc have so frequently applied to you."

"Mussina.—Signora Antoinette Montenegro. We beg to remind you, since your progress in the art! (sic) of the debt of 50 francs due to us."

wahcoxa.—Siguor Ermanuo Cinti, baritone, and Siguor G. C f basso. We are tired of waiting, and request you will no longer lend us by the nose according to your custom!!!"

'* Paris.— Siguor Mauro Mas in a, theatrical agent. Wc await the payment of subscriptions due according to account rendered. It's quite time you paid!!!"

In the same paper, under the heading Miscellanea, Mad. Tedesco is thus mentioned :—

M La Tedesco, who is celebrated for not paying her subscriptions, is about to undertake a professional tour. It is to be hoped that fortune will smile upon her, and that she will be able to pay the 200 francs she owes us."

The Cross of Savoy is not the only paper that so addresses its subscribers to remind them of their subscriptions being overdue, although perhaps singular in the barefaced effrontery of its applications. Another journal, known as II Buon Gusto, also published in Florence, commenced the year by "An interesting notice to its dilatory constituents," in which it threatened, certainly in politer terms than its contemporary, to take proceedings against those who refused to pay, and to publish the names of the defaulters. The Buon Gusto moreover belied its title by inserting an editorial notice to a certain Signor C. R. G., to the effect, that if he did not liquidate his debt to the printer of the journal, his bad behaviour should be made public in the ensuing number.

It will be easily understood that artists who decline to "subscribe "—in other words, to submit to the black-mail imposed upon them — are not in favour with the disinterested proprietors. Those who are bold enough to make it stand against the system are generally handled with severity, while its willing and timid supporters are caressed and flattered whenever an opportunity presents itself for their names being brought into notice.

An anecdote is related of a young tenor with a fine voice but an empty purse, who being about to make his first appearance, and desirous of securing the good-will and protection of one of the journals in question, called upon the editor, to assure him of his intention of subscribing to the paper whenever his resources allowed him to do so.

He was cordially received at first, but the manner of the literary tyrant changed perceptibly as soon as the true state of the visitor's finances became known. The singer was earnest in his appeal, and promised faithfully that the subscription should be paid out of the first instalment due upon his engagement. After a somewhat protracted interview, assurances of mutual support were interchanged. The debut took place, and was most successful. It was noticed by the wily editor in the following cautious terms: —

"Signor is an artist who promises a great deal. Before

recording a decided opinion as to his merits, we shall wait and see whether he fulfils our expectations."

There are, however, some honourable exceptions to the prevalent character of Italian theatrical journalism—exceptions the more distinguished for the worthlessness by which they are surrounded. II Trovatore, a Milanese journal, is remarkable for its wit and the able criticisms from the pen of its manager, Signor Marcello. The caricatures of musical celebrities which it contains are amusing and well drawn. The Gazetta Musicale, published in Milan, and edited by Dr. Filippi, an accomplished musician and elegant writer, is also worthy of every commendation for the justness and impartiality of its remarks. These and the occasional artfeuilletons of the political journals afford an agreeable contrast to the petty prints which, like swarms of locusts, prey upon the musical and theatrical professions at the present day in Italy.

Royal English Opera.—In consequence of the indisposition of Miss Louisa Pyne, the clever and promising Mi-s Thirlwall has appeared during the week as Mary Wolf, in the Puritan's Daughter, singing all the music except the ballads. (Why are the ballads omitted t) Mr. Benedict's new opera, founded on the Colleen Baicn, to be entitled the Lilly of Killarney, is in active rehearsal, and will be produced, as contemplated, on Monday week.

Hebb Paueb's performances of pianoforte music in strictly chronological order, from 1500 down to the present time, commence to-day at Willis's Rooms,

Lipinski. — M. Charles Lipinski, the celebrated Polish violinist and composer, born at Badzyn, in Gallicia, in November, 1790, died on his estate, near Zborow, in Gallicia, on the 16th of December, 1801. Herr Lipinski was only once in London (in 1836), when he appeared at the Philharmonic concerts and elsewhere.

Monday Popular Concerts. —At the concert on Monday night the programme embraced two attractive novelties. Hummel's Septet, though familiar to professors and well-informed amateurs, was, nevertheless, new to the majority of the Monday Popular Concert audience. Till now, the hearing of a work of this description was only attainable by those whose means were equal to their love of art—probably the minority among amateurs; and in recognising the wide-spread influence of these concerts, one

of the points to be insisted on is that the prices are such as to bring the gratification of a legitimate taste within reach of all classes. The success of the Monday Popular Concerts would be gratifying under any circumstances; but just now, when the socalled " Music Halls" are bidding fair to become "thick as leaves in Vallambrosa," any healthy step in the right direction is doubly welcome, and the good which is being quietly effected is the higher to be estimated inasmuch as the benefit is not confined to the present time, but will make itself felt still more distinctly in a future generation. The name of Hummel has only once previously appeared at these concerts,—when, about some two years since, Herr Pauer introduced his sonata for pianoforte alone, in F minor (Op. 20). The sensation created by the Septuor on Monday was so decided, that we may prophesy its repetition at a future concert. The Scherzo appeared to be the favourite movement, and so continuous was the applause at the end, that it was repeated as a matter of necessity. Scarcely less warmly appreciated was the andante Irish variations, in which the playing of Mr. Charles Halle shone conspicuous, while the finale was a brilliant climax, and was greeted with applause both genuine and unanimous. That the execution would be worthy the composition the names of the performers to whom it was entrusted—Mr. Charles Halle (piano), Mr. Pratten (flute), Mr. Barret (oboe), Mr. C. Harper (horn), Mr. H. Webb (violin), M. Payne (violoncello), and Mr. C. Severn (doubk-bass)— were guarantee. The solo sonata was Beethoven's C sharp minor (the "Moonlight") to which Mr. Charles Halle played "without bodi," eliciting, as usual, the warmest plaudits. Mendelssohn's quartet in B flat, Op. 12, was as well received as in 1859, when it was played by MM. Becker Ilies, Doyle and Pialli. The Canzonetta was encored. The other quartet was Haydn in B flat major, no. 65 (No. 3, Op. 54), given for the first time at the Monday Popular Concerts. The executants in both instances were Messrs. L. Ries, Watson, H. Webb and Payne, the first-named gentleman acquitting himself as leader, in a manner showing him as competent in this part as in the no less honourably responsible office of " second," which he has so long held with credit, M. Tennant, in Beethoven's song of 1; The Quail" and Blumenthal's "Evening song," displayed those artistic qualities which have so frequently been commended in his singing. Mr. Benedict, was, as usual, accompanist.

Gallertop Illustration.—Mr. and Mrs. German Reed's new entertainment continues to attract full and fashionable audiences There can hardly be a better way of spending a couple of hours. than by going to the Gallery of Illustration, where these two popular artists, with the aid of the evergreen John Parry, keep their visitors in a constant state of laughter. The "Make up" and the acting of the latter as Miss Rhadamantha Pry, in the illustration of the Three Graces, introduced in the first part of the entertainment, written by Shirley Brooks'_(" Our Card Basket"), is indeed perfect, and Mr. Parry is well supported by Mrs. Reed as Miss Niobe, and Mr. Reed as Miss Hebe Pry. Between the parts Mr. John Parry relates (musically) "The Vicissitudes of a Colleen Bawn," with immense swagger and effect. The second part, consisting of " an illustration on discords by two rival composers," written by Mr. William Brough, is capitally sustained by Mr. German Reed and Mr. John Parry, who arc interrupted at intervals by Pamela Dibbs (a servant girl) ; by a Gipsy; and by Mrs. Gowl (a lady "careless about dates "); all personated by the vivacious and versatile Mrs. German Reed in her own inimitable manner. The entertainment is brought to a close by the unexpected appearance of Mrs. Reed in propria persona, who recalls the composers from the fancies of the part to the realities of the present, and so,— "These our actors are melted into air—into thin air."

New Royalty Theatre. — The introduction of musical performances into this elegant little theatre has been attended with decided success. Offenbach's pretty little opera-bouffu, Le Marriage aux Lanternts, has been produced, and after a fortnight's merry career, still proves highly attractive. If none of tho singers is individually a star of the first magnitude, the whole is so evenly performed, and the music has been so carefully studied, that no complaint can be made, and a sense of satisfaction is felt at the termination. The ladies who sustain the parts of the two widows, who are bent on the capture of the young and well-to-do farmer, act capitally, and sing with great point and expression. Miss Nina Stanley—who may have been remembered at the Crystal Palace Concerts—is indeed a thorough mistress of the stage, however she obtained it—and has a vast deal of force and dash in her singing. Miss Payne, if not quite so expert a vocaliscr, has, nevertheless, a telling and capable voice, and very available for buffa music. The scolding dash in which the widows, besides using their tongues with much energy, take off their shoes and pelt them at each other, was so well sung and acted as to create a real enthusiasm. Mr. John Morgan, the well-known tenor, made his first appearance on the stage in the operetta. As yet he has little to recommend him besides his voice, which may be turned to good. Miss Mason pleased us vastly by her unpretending manner, and charming naturalness in the part of Denise. Although her voice is deficient, and her education seems to have been trifled with, she interests in everything she essays, a rare quality in any artist. This young lady has not half as much to sing or act as Miss Stanley or Miss Payne—perhaps has not half the musical talents of either; and yet she leaves a far deeper impression. The Christmas Burlesque, The Earliest Edition of the Trovatore, appears to have lost none of its attraction. The music, prepared by Mr. Tully, is extremely effective.

From among our communications from Leeds we select the following, as the most interesting: —

"On Tuesday, the 21st inst., the last of the weekly afternoon organ performances, at the Town Hall, Leeds, for the winter season, was given by Dr. Spark. The audience, which numbered about 100, was larger than the inclement state of the weather led us to anticipate —snow was falling, and a slight rain having covered the streets with ice in the morning, it was difficult to move along without accident. Under these circumstances the attendance was sufficient to show that the excellent concerts provided by the Town Council, at the almost nominal price of threepence, are appreciated. These stated organ performances, which are given on Saturday evenings as well as on Monday afternoons, but during the winter months not so regularly as we think is desirable, are not only the means of bringing before the public a large amount of classical music, but the means also of displaying the multiform resources of the superb instrument which is the vehicle of interpretation. An organ of the dimensions of that in the Victoria Hall cannot be duly represented by occasional use in general concerts, special performances are absolutely requisite; and these too must be entrusted to one appointed person, who, by devoting the requisite time and study, shall be able to acquire not merely a knowledge of the various effects producible, but a facility in availing himself of them. This knowledge and this facility cannot be attained without that special study and practice which no casual performer can be expected to bestow. The Town Council have doubtless acted wisely in the course which they have adopted, and particularly so as regards their organ, which has suffered in general estimation through several untoward circumstances, not the least of which being the very imperfect state in which it was opened at the festival which inaugurated the Hall. On that occasion we made some observations upon the small portion of the organ which was then completed ; we are, therefore, not sorry to have an opportunity of adding such further remarks as are due, now that we have heard the instrument under more favourable auspices.

"In England, the Leeds organ is exceeded in point of size by the organ in St. George's Hall, Liverpool, and, perhaps, by that at York; but these instruments are inferior as regards variety of tone, mechanical applications, and general constructive details. The York organ has been curtailed, and, at the same time, much improved, by Dr. Monk ; but it will always bear evidence of the absurd notions as to high scales and duplicates which were held by its original designer, Dr. Camidgo. The Liverpool organ, with the like error as to duplicates and useless extension of the scale of the manuals, and its unequal temperament, is a witness of the contracted and unscientific ideas as to organ-building of Dr. Wesley. Both these organs contain nearly two thousand more pipes than their rival at Leeds, but this excess is made up in some measure of pipes which are absolutely useless. The Liverpool and Leeds organs are both specimens of great mechanical ingenuity and great artistic skill as to voicing, &c, on the part of their respective builders; the results are in both cases exceedingly fine, but they are totally different. The characteristics of the tone of the former are delicacy and purity ; the tone of the latter is not deficient in, these qualities, but there is, in addition, a brilliancy and weight, owing to the judicious employment of various pressures of wind, the free introduction of harmonic stops, and the avoidance of the unfortunate weakness and poverty consequent upon the

attempt to procure magnitude of tone by the mere multiplication of similar stops.

"The principle so successfully applied in the selection of stops in the organ at St. Peter's Church, in this city, has been carried out, but of course more extensively, and its fuller development has produced the most happy results. The diapason tone of the organ is exceedingly rich, and is surpassed only by the fulness of the reeds, which are powerful without being coarse. Perhaps the features which struck us most forcibly, whilst listening to Dr. Spark's performance, were the exquisite quality of the harmonic flutes,—the fine effects obtainable from the two distinct great organs, which can be used together or separately at pleasure,—the general balancing and mixing of the whole organ, a notable instance of which is presented by the tubas, which add great power without' covering all the rest of the organ and imparting a totally different cast of tone, as in some instances we could name,—and, lastly, the extraordinary orchestral effects brought within reach by Mr. Smart's ingenious mechanism applied to the stops of the solo organ. In short, we think that it must be admitted that more variety and greater effect are producible from the S5 sounding stops at Leeds than from the loo at Liverpool, solely through superior skill displayed on the part of the designers, irrespective altogether of any superior merit in the builders.

"With regard to the principal organs in England, we have not been fortunate. Those at Birmingham and York will never be other than patched-up instruments, in which the failures caused by the absurd crotchets of their designers have been corrected as far as possible. The organ at Liverpool is a magnificent instrument, but is not capable of the effects which 100 stops and 8000 pipes ought to produce. Leeds, on the other hand, possesses an organ, the complete success of which forbids any attempt at remodelling, and insures the maintenance in its integrity of the original design.

"The following was the programme of Dr. Spark's performance on Tuesday afternoon :—

"Grand Prelude and Fugue (G major), (Mendelssohn); Air, with variations (F major), from a Symphony (Haydn); Overture Der FreuchUtz ( Weber); Andante for the Organ (F major), (U;feburc Wely); Double Cliorus.' Fixed In His Everlasting Seat,' Samson (Handel); Recollections of the.Grat)rt Opera, Let Huguenots; including the Instrumental introduction and the Chorale; the Chorus, * Piacer della Mensa ;' the Cavatiua, ' Nobil Donna;' the Huguenot Sung, 'Pitt pad!' and the final Chorus (Meyerbeer).

"This selection, it will be seen, afforded abundant scope for displaying the resources of the instrument; the fugue and chorus being in the legitimate organ school, and the other pieces affording opportunities of giving those orchestral effects of which our modern players are so fond, and for which the Leeds organ presents so many facilities. Dr. Spark's interpretation of the whole appeared to us to realise what we might anticipate from a player who was thoroughly conversant with his instrument and fully competent to develop its resources."

The Birmingham Daily Post gives a lengthened notice of Mad, Lind Goldschmidt's appearance in Elijah, at the Town-Hall, from which we extract the following :—

"The artistic resuscitation of Mad. Goldschmidt, however satisfactorily established by her various performances on Wednesday, could scarcely be deemed complete in Birmingham, until her powers had once again been tested in that trying branch of the vocalist's art, in which her most solid successes were formerly achieved; and, with good judgment, one entire evening was set apart for the purpose of presenting the greatest sacred .singer of her time in the greatest sacred work of the century— Jenny Lind in Mendelssohn's Elijah. So great an attraction, it might have been supposed, would even at 'sensation' prices have sufficed to crowd a larger building than our Town Hall; but, besides the fact that the concert of the previous evening had exercised an exhaustive influence, the interest excited by Mad. Goldschmidt's performances partakes too much of a personal character to be appeased by any entertainment in which she is not the most prominent personage. Thus notwithstanding the popularity of the work selected, the strength and excellence of the orchestral resources, and the association with Mad. Goldschmidt of the two best exponents of the day of their respective parts, in the persons of Mr. Sims Reeves and Mr. Weiss, the atten. dance scarcely reached the aggregate of the previous evening. In addition to the vocalists already named, Miss Cole, Miss Palmer, Mrs. Hayward, Mr. R. Mason, Mr. F Gough, and Mr. Briggs, swelled the list of principals, while the orchestra, under the direction of Mr. Otto Goldschmidt, boasted a total of some three hundred performers, consisting of a picked choir of 230 voices and a powerful band, embracing many of the most celebrated London instrumentalists, Mr. Stimpson, as usual presiding at the pianoforte.

"We must first express the gratification with which we invariably hail Mr. Weiss's forcible and intelligent representation of the leading personage. Other singers there may be to whom the music of Elijah is as

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