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Boyal English Opera.

The success of Love's Triumph increases with each representation, and the improbabilities of the plot are overlooked in the beauty of the music and general excellence of the performance. This week the new opera was given three instead of four times, in consequence of the services of Miss Louisa Pyne and Mr. Harrison being required at Liverpool on Wednesday evening for a charitable performance. Love's Triumph continues to be alternated with the most popular works of the repertory in which Mdlle. Parepa can take part, such as The Bohemian Girl, Dinorah, Maritana, and Fra Diavolo.

MONDAY POPULAR CONCERTS.

At the fifth (107th) concert, on Monday, St. James's Hall was crowded to the doors. The concert was one of the most attractive ever given. Besides the quartets and there were two on this occasion-and besides the fiddle solo (J. S. Bach, of course) the vocal department assumed a new importance. Mr. Sims Reeves made his first appearance since the summer, and was welcomed with acclamations. Both his songs-"Gentle airs" and "Adelaida" -were rapturously encored, and, in great good humor (no wonder, at such a reception), the valiant champion of the "no encore system complied in both instances. His voice was in first-rate condition (thanks, in a measure, to the air and early hours-if not to the water-of Ikey Wells), and he sang his very best, Verbum sat. In the air from Handel's Athaliah, Sig. Piatti played the violoncello obbligato; in "Adelaida" Mr. Lindsay Sloper was at the pianoforte; in each the combination was irreproachable.

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The other vocalist was Miss Martin, for whom were set down Schubert's" Aufenthalt" (the English version-"Torrents whose waves,") and Mendelssohn's "Zuleika" (No 2-in E major). Both are impassioned songs, and therefore unsuited to Miss Martin, who, though she sings well, sings without passion.

The quartets were Beethoven's No. 7 ("Rasoumoffsky," in F), and Haydn in C major (No 3, Op. 33):

Joachim (we can't say "Herr " Joachim) was superb in the "Rasoumoffsky," superb in the "Haydn," and superb in the Bach (Prelude, Loure, two Minuets, Gavotte and Rondo-the Bourre being omitted):

In every instance he excited the enthusiasm of the audience to "fever point."

The pianoforte sonata was one by Cherubini, in B flat (from a set of six), the pianist Herr Pauer, who also played Hummel's brilliant trio in E, most brilliantly-with Herr Joachim and Sig. Piatti. Of Cherubini's sonatas we intend to speak on another occasion.

The concert was altogether delightful. At the next, Herr Joachim (among other things) will lead Mozart's divine quintet in G minor and Mr. Sims Reeves will sing the not less heavenly Liederkreis of Beethoven.

CRYSTAL PALACE CONCERTS.

a basis that their periodical re-occurrence is looked forward to with unfeigned interest by amateurs of music in and about London. Moreover, he may be said to have "created" an orchestra for his own special uses, and trained it to such strict discipline that anything approaching scarcely within the limits of probability. The players in this orchestra an unfinished, much more a careless or a slovenly performance, is obey the indication of their conductor's stick as closely and expeditiously as Ariel the wand of Prospero. In short, not to mince words, the band of the Crystal Palace, although less in number than by many could be wished-fewer than the "60" pronounced "enough" by Beethoven-is inferior in quality to none with which we are acquainted. Not merely does it play well when engaged solely on its own account, as in overtures and symphonies, but accompanies well where singers or instrumental soloists are concerned. This, it must be allowed, is too rare an accomplishment not to be accredited, with all due honour. In short, Herr Manns has done justice to his employers and won a musical reputation for the Crystal Palace. He has a right, therefore, to claim the support and encouragement of those whom he serves with so much zeal and honesty of purpose. The winter concerts (of "good" music) are the medium through which alone he has any chance of obtaining public recognition, while at the same time he is upholding the dignity of that art of which he is a truly devoted follower. The programme at the first concert was as follows:Symphony No. 4 in B flat

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N. W. Gade.
Rossini.

A. Manns.
Spohr.
Rossini.

Balfe.
Weber.

The symphony of M. Niels Gade-that Danish composer whom, nearly twenty years since, Mendelssohn, always more alive to talent in others than desirous of exhibiting his own, so generously took by the hand-was given for the first time in England, but not, we may be sure, for the last, if Herr Manns is left to decide. It is one this conductor's characteristics that he is no exclusive past-worshipper-perhaps not at all times sufficiently reserved, indeed, when surveying the productions of the modern school of writers (Germans especially), of whom M. Gade, though by no means a composer of genius, is one of the sanest. Spohr's violin concerto, in some respects his best, was the most striking feature of the programme-and this owing even more to the superlative execution of Herr Joachim than to the admirable beauties of the work. Without applying a string of laudatory epithets to this unequalled artist -of which he stands in no want-we may add, in a sentence, that the concerto could not possibly have been played better. The audience listened to it from one end to the other with marked attention and evident delight, applauding and recalling Herr Joachim, at the termination of the last movement, with downright enthusiasm. The overture to Der Freischütz-either movement of which contains more ideas than the allegro, andante, scherzo, and finale of Gade put together-was a genuine triumph for Herr Manns and his orchestra. Weber himself would have been more than satisfied, and have gathered some compensation for the torture to which he was occasionally subjected during the preliminary rehearsals of his Oberon, nearly 40 years since, at Covent Garden Theatre.

The vocal music was unimpeachable. Mr. Santley (we need not praise Mr. Santley,) took equal pains with the serenade of Herr Manns, and the ballad from The Puritan's Daughter (one of Mr. Balfe's happiest inspirations), and was heartily appreciated in both. Mademoiselle Zeiss-a new contralto-has a flexible voice, with considerable ease of vigour and delivery. She aimed high in selecting two of Rossini's most difficult airs, but was cordially encouraged, and indeed deserved the applause she obtained. "God save the Queen," and the "Danish National Air," arranged for the occasion by Herr Manns, brought the concert to an end. The room was so inconveniently crowded that the act of closing the staircases leading to the galleries immediately after the commencement amounted to arbitrary despotism. At the beginning of each piece such a precautionary step may be advisable; but we question the expediency, not to say the right, to bar the ingress and egress of visitors during the entire performance. Good taste should prevent any part of an audience from disturbing the enjoyment of attentive listeners; but surely those who pay for admission are entitled to the privilege of hearing as much or as little as they think proper. After the concert the new gas candelabra in the nave were lit up for the promenade, during which Mr. James Coward, organist to the Crystal Palace, with his accustomed skill, gave selections from Handel, Mozart, Beethoven, Mendelssohn, and Meyerbeer (besides an improvisation), on the great organ in the Handel orchestra. Altogether the entertainment was one of the most delightful that can be imagined. the second concert (to-day) Herr Joachim is to play Mendelssohn's violin concerto.

The commencement of the winter musical season at Sydenham must not pass without a word or two of recognition. The uniform excellence of the first concert, both with regard to programme and execution, showed Herr Kapellmeister Auguste Manns determined to sustain the credit of an institution which, under his fostering care, has grown to such importance. The performances of the "Crystal Palace Philharmonic" (why not?) are, indeed, equal to anything this music-loving country can boast. They are model entertainments of their class-neither too long nor too short, almost invariably well made out, and quite invari-At ably well presented. How much of this is due to the conductor we need hardly insist. Herr Manns has laboured assiduously at his task, fought, with a perseverance derived from inward faith, against more than one prejudice, and ultimately established his concerts upon so firm

The director of the Monday Popular Concerts has found a way to obviate inconvenience on either side.

Letters to the Editor.

TO COMPOSERS.

SIR,-Can you inform me (through the medium of your valuable paper) of the names of any composers who purchase songs and poems to set to music. The terms I should wish to make for certain poems of mine (some of which, I think, are well suited for music) would be very liberal; and, in addition, the choice of tunes would be in the composer's hands as well as the selection of pieces. Yours obediently, PINDARUS.

CHARLES AURCHESTER.

SIR,-Can you, or any of your numerous readers, inform me whether an English edition of the above is published, and if so, the name of the publisher? I have a New York copy, sold at 25 cents; but a friend of mine, wishing to procure a copy, has been unable to meet with one here. Yours faithfully, G. F. G. [Charles Aurchester is published by Messrs, Hurst and Blackett. -ED.]

PARIS.

(From our own Correspondent.)

PARIS, NOV. 13th. Still the musical world of Paris is sufficiently dull in actual accomplishment, and my letter, in a great measure, must relate to what is likely to take place. Nothing new at the Grand Opera. M. Michot, having recovered from his recent indisposition, has reappeared as Manrique in the Trouvère. The debuts of M. Bonnesseur, the new pensionnaire of the opera, will be made shortly in St. Bris, in the Huguenots. Mario will appear most probably on Sunday in the Muette. This is the extent of my hebdomadal budget anent the doings of the Académie Impériale de Musique et de Danse.-The tidings about the Théâtre-Italien are equally in prospectu. To-night the Cosi fan tutte will be produced for the first time, I believe, in Paris. You shall have a full and true account of the performance in my next. A priori I cannot anticipate a very favorable reception for Mozart's exquisite and too much neglected work. The French have but little liking for "absolute music," as Richard Wagner says. Mozart is too ideal, too abstract for them, and appeals too much to the intellect to gratify those who are pleased mostly through the senses. I shall be glad to write myself down in error, but verily I have my fears. The debut of Malle. Adelina Patti is fixed for the 16th. La Sonnambula, I hear, will be the opera. This is a better choice I think, than the Barbiere, which was spoken of, but which I can hardly fancy was ever in contemplation, else why give the opera so frequently with Alboni, whose Rosina is incomparable. The rumour was incomPatti-ble with reason. Mdlle. Patti has arrived in Paris. Semiramide was given on Sunday for the first appearance of Signor Agnesi. I was unable to attend, but shall be in my seat at the next representation, and send you my report. I hear from many that the new baritone is good, if not great; an acquisition if not exactly a Filippo Galli nor an Antonio Tamburini.-A new opera in one act, entitled Le Cabaret des Amours, the libretto by MM. Barbier and Carré, the music by M. Pascal, has been produced at the Opera Comique with success. I may allude to this further in my next.-The Théâtre Lyrique has commenced its campaign with brilliant eclat in its new abode. After two successful representations of the Chatte Merveilleuse, M. Maillart's pleasing and popular opera Les Dragons de Villars was reproduced and played several times. M. Buvard, the new tenor, appears to much advantage in the character of the hero. and Mdlle. Girard sings and acts most charmingly in the part of Rose Friquet. Madame Viardot has appeared in Orphée with all the usual effect. The general performance of Gluck's grand old work is extremely good. A new opera in four acts by Prince Poniatowski is announced. The principal characters have been assigned to Madame Marie Cabel, M. M. Battaille, Monjauze, Sainte-Foy and Balanqué. By the way, Madame Miolan Carvalho will play the part of Arline in the French version of Mr. Balfe's Bohemian Girl.

NEW ORATORIOS.-Three new oratorios are talked of in the German musical papers:-A St. Elizabeth, by Dr. Liszt (not yet produced); a Raising of Lazarus, by Herr Vogt; and a St. Peter, by Herr Berthold of St. Petersburg. This last announcement makes it expedient, in avoidance of future question, to state that Mr. Benedict's oratorio, on which he has been for some time engaged, is on the subject of St. Peter, arranged for music by Mr. Henry F, Chorley, with words from Holy Writ, Athenæum;

LOVE'S TRIUMPH*

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The libretto of Mr. Wallace's new opera, entitled Love's Triumph, is founded on a French comedy entitled Le Portrait Vivant. The daughter of a Dutch burgomaster is the "living portrait" of a French princess, or, rather, a French princess is the "living portrait" of a Dutch burgomaster. Indeed, she (the French princess) is so like her (the Dutch burgomaster's daughter), or vice versa, that even the audience, who are of course supposed to be more or less in the author's confidence, are sometimes puzzled by the resemblance. In the original piece an inanimate picture and the living portrait" are introduced; but in Mr. Planche's operatic adaptation the burgomaster's daughter comes bodily on to the stage in one scene, and the princess in another until as both personages are represented by the same performer-one feels considerably puzzled at last as to the identity of the principal character or characters, and inclined to call, not for the author of the libretto, but for the author of "Who's Who?" to explain to us what the libretto, with its princess and its burgomaster's daughter, really mean. The most fatal notion to conceive in connection with this mysteriously-constructed but clearly and cleverly written little drama is, that the princess is, somehow or other, the daughter of a burgomaster. The hypothesis is not utterly absurd; but it is altogether untrue. The princess and the burgomaster's daughter are two distinct individualities, though both are represented by Miss Louisa Pyne, who, as one or other, is, fortunately for the success of the opera, constantly appearing on the stage. The burgomaster's daughter-Theresa by name-is engaged to marry Count de Canillac, but is in love with and beloved by Adolphe de Savigny. Adolphe, instead of standing his ground like a man, runs off in despair, like an operatic lover, to join the army. Before reaching the camp, however, he meets with some adventures at the court, is introduced to Malle. de Valois (the princess), is of course struck by her marvellous resemblance to Theresa (she is, in fact, as much like her as Miss Louisa Pyne is to Miss Louisa Pyne), saves her life at a hunt, inspires her with something more than interest, convinces her by the ardour with which he kisses what appears to be her portrait (but which is, in fact, that of Theresa) that he is passionately in love with her, and finally is enabled, by her noble generosity, to marry her rival, who to the audience appears to be no other than herself. All this is very provoking. Adolphe, in the eyes of the audience, is beloved by one and the same young lady throughout, Call her the princess, or the burgomaster's daughter, or Theresa de Valois, or Son Altesse Royale la Princesse van Groot, we always know her to be the same by her beautiful soprano voice and her exquisite singing. We feel no commiseration for the princess when she gives up Savigny without losing him; nor can we congratulate Theresa when, never having lost him, she receives him back. In short, Mr. Planché has made an important dramatic mistake, which is the more to be regretted inasmuch as his libretto is incomparably superior, in a literary point of veiw, to the great majority of such productions.

The effect of hearing Mr. Vincent Wallace's opera once has been to make us anxious to hear it a second time, but not to enable us to give a full account of it. To form a thorough acquaintance with a picture so as to be in a position to pronounce a decided opinion on its merits may be the affair of a minute or of any longer period. To a person who can judge at all, a single inspection must be as good as a great many-simply because it may be prolonged indefinitely. But in listening to a new opera one has to catch the sounds as they fly; for it cannot be expected, unless the music be very impressive, and the memory equally retentive, that they will fix themselves on the mind's ear (surely the mind has an ear as well as an eye) all at once. There is no going back to a remarkable passage, except in the case of encoreshonours which are generally accorded to most unimportant pieces, the mere insignificant hors-d'œuvres in the great operatic feast; or, perhaps, we should call them entrées, those ballads that are introduced on all possible occasions, and which, like the notorious side dishes of the London pastrycooks, are all served up with the same sauce. There are, indeed, many points of resemblance between an opera and a dinner, from the overture, which may be compared to the soup, to the inevitable bravura for the prima donna at the end-which, of course, is the desert. There are operas in which we could point distinctly to the souffle, the pudding, the roast beef, the goose. Then like a dinner, no opera is considered complete without the introduction of "wine, wine, wine," or "the glorious vintage of champagne," to say nothing of "punch," and the "porterbeer" celebrated by the young man with the baritone voice in Martha.

Love's Triumph is a repast of a light and elegant kind. It seemed to be highly appreciated on Monday night. It was applauded from beginning to end, and to some of the dishes (chiefly the aforesaid entrées), the public insisted on being helped twice. After one or more repetitions of the entertainment, we shall take upon ourselves to speak of it in detail. At present we can only record its complete success, and, in a general way, the gratification which it afforded us personally.

From the Illustrated Times,

ST. JAMES'S HALL.-Mdlle. Louisa Van Noorden gave a concert on Clementi, J. B. Dando, Carl Goffrie, H. Weist Hill, Jacquin, F. W. Thursday evening, which was well attended, considering the state of Kreutzer, Adolphe Pollitzer, Louis Ries, E. W. Thomas, Max Vogel, the weather. The fog indeed within was almost as dense as the fog J. T. Willy, J. B. Zerbini.-Second Violins-Messrs. William Watson, without, and must have been anything but encouraging to the visitors (Principal), S. Bort, A. Burnett, J. J. Calkin, E. T. Chipp, Mus. Doc. or acceptable to the singers. The vocal artists, with Mdlle. Van Cantab., C. Colchester, F. R. Folkes, J. M. Marshall, J. Newsham, Noorden, comprised Mdlle. Giorgi, Miss Leffler, Mr. Sims Reeves, and Edward Payton, Edward Perry, Alexander Simmonds, Alfred Streather, Signor Fortuna. Mdlle. Florence Lancia's name was in the bills, but Heddegham Van, Thomas Watson, Henry Wheatley, Jun.-Violasthe lady was indisposed and could not appear. The instrumentalists Mr. R. Blagrove and Mr. W. H. Webb, (Principals), Messrs. George were Messrs Charles Salaman, P. E. Van Noorden and pupil (piano- Alsept, J. Brodelet, -Glanvill, R. Hann, H. J. Trust, W. W. Waud, forte), Herr Pollitzer (violin), and Herr Lidel (violoncello). A strong T. Westrop.-Violoncellos-Messrs. George Collins, (Principal), W. H. infusion of the classic element was one of the features of the programme. Aylward, Horatio Chipp, Hugo Daubert, H. W: Goodban, Alfred Beethoven's trio in B flat, Op. 11, for piano, violin, and violoncello, Guest, Charles Ould, G. Paque, Walter Pettit, R. H. Reed.-Double executants Mr. Charles Salaman, Herr Pollitzer, and Herr Lidel, and Basses-Messrs. James Howell (Principal), William Castell, Thomas Mozart's sonata in E minor, for piano and violin, Mr. P. E. Van Noorden Edgar, Arthur Howell, John Reynolds, Charles Severn, Joseph Waud, at the piano, were both excellent performances, and were most liberally A. C. White, A. Winterbottom.-Flutes-Messrs. R. S. Pratten, R. S. applauded. The singing was very effective. Mr. Sims Reeves, who, Rockstro. — Piccolo- Mr. J. Schmidt.- · Oboes-Messrs. A. R. M. by his stay in the porte seems to have gained new strength and wealth Barret, Alfred Nicholson.-Clarionets-Messrs. Henry Lazarus, F. of voice, a very scorner of fogs on Thursday night, sang gloriously, and H. Maycock.-Bassoons-Messrs. F. Hausser, J. G. Waetzig.with as much freedom and power as though he were inhaling the clear Horns-Messrs. Charles Harper, J. W. Standen, T. E. Mann, R. atmosphere of the south, in place of the condensed smoke and cloud Keevil.-Trumpets-Messrs. Thomas Harper, R. J. Ward.-Trombones of an English November atmosphere. This scorner of his native fogs-Messrs. J. Hawkes,-Antoine, W. Winterbottom.-Ophicleide-Mr. S. gave the song from W. Balfe's Cantata Mazeppa "She walks in queen-Hughes.-Cornets-Messrs. Stanton Jones, F. J. Sutton.-Drum--Mr. C. F. like grace," not only as well as ever but better than ever, if that were pos- Horton.-Bass Drum and Cymbals-Mr. R. W. Seymour.-Side Drumsible (which it is not) and was recalled tumultuously. He also sang a Mr. Pheasant.-Triangle-Mr. Horton.-Harps-Messrs. Edward Perry, ballad from Herr Meyer Lutz, cantata, Herne the Hunter, "Sweet flow'ret, H. J. Trust. Librarian and Copyist for the Orchestra, Mr. C. F. Horton. leave me not thus lone," which was rapturously and most deservedly THE MUSICAL SOCIETY OF LONDON.-The second trial of new encored. Mr. Reeves also joined Miss Van Noorden in two duets," Pangi, Chamber Compositions took place at the Marylebone Institution, on O cara" from the Traviata and "Tornami a dirs" from Elisir d'Amore, Wedneday Evening, when the following works were tried :-Quartet, both of which pleased infinitely. Mdlle. Van Noorden has a powerful The Life of a Musician, in E flat, two violins, viola and violoncello, soprano voice, which we think would be very effective on the stage. Her (1. Allegro-" The Start-Perseverance and Progress." 2. Vivace solos were Paceni's cavatina "Il soave bel contento" and Eckert's "Echo "Anxiety." 3. Andante "Hope." 4. Finale "Disappointment "Song," in both of which she was highly successful. The Concert was and Despair-Ultimate Success and thanksgiving "-composed by H. brought to a conclusion at a reasonable time-a special recommendation. F. Schroeder, and performed by Messrs. Louis Ries, Carrodus, Webb, RUMOUB," writes the Athenaeum" has many things to say concerning the and Lidel; Quartet in G, two violins, viola, and violoncello, composed Limited Liability English Opera Company. Some aver that nothing is by James Lea Summers, and performed by Messrs. Carrodus, Louis decided beyond the postponement of every attempt for the present;- Ries, Webb, and Lidel; Quartet in E, pianoforte, violin, viola, and others declare that Robin Hood is to be the first opera, given as on its violoncello, composed by Oliver May, and performed by Messrs Oliver production, by Madame Lemmens-Sherrington and Mr. Sims Reeves, May, Louis Ries, Webb, and Lidel; Quartet in D, two violins, viola, as hero and heroine, and with one of the Messrs. Braham as leading and violoncello, composed by Miss Alice Mary Smith, and performed baritone. Time is going by: if the projected undertaking is to have by Messrs. Carrodus, Louis Ries, Webb, and Lidel; Quartet in G any season, it is high time that the public should hear something more minor, two violins, viola, and violoncello, composed by Henry Baumer, than rumours-none, possibly, of which are correct." [The Athenaeum and performed by Messrs. Louis Ries, Carrodus, Webb, and Lidel. may read our correspondence.-ED.] Mr. Oliver May is a fellow of the Society; the others are all associates. BATH. From a Correspondent).-Mr. H. Simms gave a concert at the Assembly Rooms on Saturday (Oct. 25) the members of the Land" touring party being the attraction. The programme was of unusual excellence and variety. Such instrumental talent as that of Madame Arabella Goddard, M. Sainton and Signor Bottesini, could not easily be surpassed; while the vocal force, comprising Madame Gassier, Mdlle. Marie Cruvelli, Mr. Swift, and Herr Joseph Hermanns, (Mr. Land conductor) was by no means to be despised. The great ultra, by Madame Arabella Goddard, whose incomparable execution of this most difficult work created a profound sensation. I need not describe to your readers the characteristics of her performance; all who are in the habit of frequenting the Monday Popular Concertswhich means all musical London-must be familiar with them. Enough that Madame Goddard played to perfection and was recalled with enthusiasm. Many would fain have had the variations on "Life let us Cherish" repeated; but Madame Goddard merely bowed her acknowledgments. In Ascher's fantasia on Lurline, however, the demand for a repetition was so vehement, that she could not choose but comply, and accordingly, after some slight demur, she reseated herself at the piano and played Stephen Heller's "improvisation" on Mendelssohn's "On Song's bright Pinions," which delighted the audience in even a larger measure. The other performance of Madame Goddard was in Mozart's Sonata in B flat, for piano and violin, with M. Sainton, a splendid exhibition on the part of pianist and violinist. M. Sainton was also heard in his own capital fantasia on "Scotch airs," and in a duet for violin and contrabasso with Signor Bottesini, both of which were loudly applauded. The solo on the contra-basso, on airs from Lucia, by the great Italian virtuosa, was a truly surprising display, and created unbounded astonishment. Of the vocal performance I can only say that Madame Gassier sang with brilliancy a Scena by one Chiaromonte, and a rondo with variations from Vaccaj's Pietro il Grande that Mdlle. Marie Cruvelli was highly effective in the aria, “O Mio Fernando," (La Favorita); that Mr. Swift was thoroughly energetic in the song from Maritana " Yes, let me like a Soldier fall;" and that Herr Hermanus showed a good deal of humour in the song of Falstaff from Nicolai's Merry Wives of Windsor. Mr. Land conducted and joined in some of the concerted pieces, proving himself equally efficient as singer and conductor,

DRESDEN.-The prospectus of six orchestral concerts to be given during the coming winter at Dresden undertakes for the performance of works by Haydn, Mozart, Beethoven, Weber, Spohr, Handel (his "Water-Music"), Mendelssohn, Lindpaintner, Schubert, Berlioz, Rietz, Rubinstein, Schumann, Gade, Bargiel, Veit, Reissiger.

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CHELTENHAM-Two concerts took place on Tuesday week at the Montpellier Rotunda, and were well attended. The only drawback was the indisposition of Madame Gassier, who, however, sang at the morning concert, but was too unwell to sing in the evening. Notwith-performance of the Concert was Woelfl's pianoforte Sonata Ne plus standing this, a concert with such singers and instrumentalists as Madame Cruvelli, Mr. Swift, Herr Hermanns, Madame Arabella Goddard, Mons. Sainton and Signor Bottesini, could not be othewise than gratifying to the audience. It would be a bold act to criticise the performances of the three last named eminent musicians, even if the critic felt himself equal to the task, and it will therefore suffice to say that the rendering of the pieces set down for them in the programme gave unbounded satisfaction to all present. In particular, may be mentioned the Fantasia on Scotch Airs, by M. Sainton, the pianoforte variations on "Life let us cherish" by Mad. Arabella Goddard, and the Fantasia on the double bass by Signor Bottesini, all of which were characterised by the well known and marvellous execution of their respective performers. The singing of Madame Cruveli, who possesses a clear and powerful voice, was loudly applauded, and she complied with more than one demand for a repetition. Mr. Swift, too, has a powerful tenor voice, and sang with great animation. Altogether, the concerts were a great treat.

ON Monday last, Mr. Ricardi Linter gave a pianoforte "recital" at his house. There was a numerous and fashionable attendance. The programme was good, the classical music not being so disproportionate to that of a lighter description, as is generally the case. The Andante in F, of Beethoven, and the Prelude and Fugue in E minor, of Mendelssohn, were beautifully rendered. Mr. Linter also played four of his ⚫own compositions, which afforded considerable gratification, particularly the fantasias on Norma and Martha: also two by M. Thalberg, viz. Home Sweet Home and Don Pasquale.-Cheltenham Times.

MUSICAL SOCIETY OF LONDON.-The band for the ensuing series of concerts (under the direction of Mr. Alfred Mellon) will comprise eighty-eight performers:-First Violins-Mr. H. G. Blagrove and Mr. P. Sainton, (Principals); Messrs. J. Banister, J. T. Carrodus, R.

I. P. S.

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MDLLE. PATTI has finished her tour in the provinces, and has left for Paris, where she will make her first appearance (at the Theatre Italien) next Monday. That ingenious and fanciful critic, M. Escudier, informs his readers that "les jeunes gens de Londres" have organised special trains and hired a special steamer to take them to Paris in the train of Mdlle. Patti. They are to pay five pounds each for the journey, going and coming, and they are to remain five days in Paris. Why not add that each is to throw five bouquets to Mdlle. Patti, that they have sworn to call her five times before the curtain after each act, and that it is expected they will all lose their five senses before their return. -Illustrated Times.

Advertisements.

NEW SCOTCH FANTASIAS, BY A. CUNIO.

THE

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1. Introduction and Chorus, "Hither, hither, hasten all"
2. Duet, "My poor young friend." Two Tenors
3. Romanza, "Though all too poor. Tenor
3a. Romanza (Transposed)

4. Chorus and Solo, "Long life to her Highness." Soprano.
Ballet, "Romanesca "

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Aria, "Patience! prudence!" Tenor

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Air, "Wayward fortune." Bass
Finale, "Help, help!"

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STRATHEARN," Fantasia for the Pianoforte from

comin.

Lady Nairne's celebrated Songs "The Rowan tree" and "Wha is this
Price 45.

Just published by the same Author,

"LA DANZA

PATERSON & SONS, 27, George Street, Edinburgh, and 152, Buchanan Street, Glasgow
London: BOOSEY & SONS.

MR. CHARLES BALL'S SONGS.

THO' CLOUDS O'ERSHADE THE OPENING

FLOWER. For Baritone or Contralto. 2s.

SHADOWS OF THE PAST. For Tenor or Soprano.

2s. 6d.

2s. "A charming ballad."

THE LINGERING LIGHT. For Soprano or Tenor.
THE

HE EVENING BREEZE. For Tenor or Soprano.

2s. "A melody graceful, flowing, and expressive."
ADDISON & LUCAS, 210, REGENT STREET.

THE READING GIRL.

J. E. CARPENTER. Music by W. VINCENT WALLACE. 2s. 6d. Also, by the same Author and Composer, "THE SLEEP OF SORROW" and "THE SLEEP OF JOY." Each 2s. 6d.

GOD

A

London: ROBERT COCKS & Co., New Burlington Street.

Basses
Recit. and Air, “Night, love, is creeping." Tenor
21a. Air (Transposed)

22. Duet, "Hear me, I must speak.' Soprano and Tenor
23. Finale, "All to the ball

* Separate Vocal Parts are published.

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Favourite Airs from Wallace's Opera, Love's Triumph, arranged by W. H.
Callcott, in Two Books; Solos 5s., Duets
Sacred Song. Words by Flute Accompaniment to each Book
Berger (Francesco), Fantasia
Glover (Charles W.,) "Night, love, is creeping"
Gems of the Opera
Osborne (G. A.), Fantasia
Richards (B.), "Those withered flowers
Fantasia
Schulthes (Wilhelm), Romanesca
Intermezzo
Trékell (J. Theodore), Fantasia
"Lovely, loving, and beloved
"Night, love, is creeping"

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OD BLESS THE PRINCE OF WALES. Song and
Chorus by BRINLEY RICHARDS (will be ready in a few days).
London: ROBERT COCKS & Co., New Burlington Street.

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BRINLEY RICHARDS. 3s. DITTO, for a Military ¡Band, arranged by F.
London: ROBERT COCKS & Co., New Burlington Street.

LBERT EDWARD MARCH for the Piano, by Quadrille, "Love's Triumph," arranged by C. Coote (Illustrated)

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GODFREY.

THE BURLINGTON MUSICAL ALBUM FOR 1863,

Price 158., postage free, 168. 2d.

RORERT COCKS & CO., NEW BURLINGTON ST., LONDON'

"This is a most elegantly prepared volume, valuable alike for the excellence and sweetness of its musical pieces, and for the taste and beauty of its embellishments. The work has been produced in a superb style of elaborate decoration, and is a volume which would grace any drawing-room. The illustrations are executed with great artistic feeling, while the pieces of music, suitable for the pianoforte, vocalism, or the dance, are by some of the best known and most popular of our fashionable composers. The volume, bound in appropriate style, opens with an elaborately embellished titlepage; next to which is placed, in a stem of moss roses running the whole length of the page, the initial word "To," with spaces for the insertion of the names of the receiver and donor of the gift. Next come the twelve musical pieces comprised in the work, most of these being prefaced by beautiful illuminations. The pieces are varied and attractive, and include compositions by Anne Fricker, Adam Wright, G. F. West, Franz Abt, F. Kücken, Alphonse Leduc, Brinley Richards, Miss M. Lindsay, Carl Faust, Croshaw Johnson, W. Vincent Wallace, and Stephen Glover. The pieces that these highly esteemed composers have produced are of great musical ability, and will render the Album one of the most popular of the day. They have been composed specially for the work, and a volume possessing so many recommendations will prove a suitable and very handsome Christmas or New Year's gift. Not the least charming of its contents is a piano-solo, The Alexandra March, by Carl Faust, and this piece is prefaced by a fihe portrait of our future Queen."-Vide Liverpool Albion, November 10.

To be had of all Musicsellers and Booksellers. 15s., postage free, 16s. 2d.

ditto

ditto
The Page Polka, ditto
Grand Selection for Military Band, by C. Godfrey, Senr. ...

ADDISON AND LUCAS, 210 REGENT STREET, W.

BALE

ALFE'S Poetry by EDMUND FALCONER, Esq. Sung by Miss Anna Whitty upwards of 300 nights at the Royal Lyceum Theatre, in the "Lakes of Killarney," and now being sung by the same distinguished vocalist every night at the Theatre Royal, Manchester, is published, price 3s., by DUNCAN Davison & Co., 244 Regent Street.

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17 Nine Pianoforte Pieces, by Osborne and Lindahl.

ASCHER.

Melodie

3 0

Mazurka Elégante

3 0

14 Ten Songs, by Schubert.

4 0

15 Eighteen of Moore's Irish Melodies.

16 Twelve Sacred Duets.

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Charlie is my darling

Farewell but whenever Giorno d' orrore

Meeting of the Waters

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18 Twelve Songs by Verdi and Flotow.

19 Favourite Airs from the Messiah. Arranged for the Pianoforte.

20 Beethoven's Sonatas. Edited by Charles Hallé (No 2). Containing Sonatas No. 3 of Op. 2. and Sonata Op. 7, complete.

21 Nine Pianoforte Pieces, by Ascher and Goria.

22 Twenty-one Christy and Buckley Minstrel Melodies. 23 Twenty-five Juvenile Pieces for the Pianoforte.

24 Thirteen Popular Songs, by the most popular Composers. 25 Sims Reeves' Popular Songs.

26 D'Albert's Galops, Mazurkas, &c.

27 Five Sets of Quadrilles as Duets, by Charles D'Albert.

28 Beethoven Sonatas. Edited by Charles Hallé (No. 3). Containing the Sonatas Nos. 1 and 2 of Op. 10.

29 Ten Contralto Songs, by Mrs. Arkwright, Hon. Mrs. Norton, &c.

30 Beethoven Sonatas. Edited by Charles Hallé (No. 4). Containing the Sonata No. 3 of Op. 10, and the Sonata Pathétique.

31

Beethoven's Sonatas. Edited by Charles Hallé (No.5). Containing Sonatas Nos. 1 and 2 of Op. 14.

32 Beethoven's Sonatas. Edited by Charles Hallé (No. 6). Containing Sonata Op.

22, and Sonata Op. 26, with the celebrated Funeral March.

33 Juvenile Vocal Album, containing Songs, Duets and Trios.

34 Christmas Album of Dance Music, consisting of Quadrilles, Valses, Polkas, and Galops.

35 Vocal Christy Minstrel Album. A New Selection.

36 Christy Minstrel Album, for Pianoforte alone.

37 Standard Dance Music, comprising 72 Country Dances, Hornpipes, Reels, Jigs, &c.

38 Fashionable Dance Book, consisting of Quadrilles, Valses, Polkas, Galops,

Schottisches, &c.

39 Christy Minstrel Song Book. A New Selection.

40 Valses by D'Albert and other eminent Composers.

41 Fifty Operatic Airs for the Pianoforte.

42 One Hundred Irish Melodies for the Pianoforte.

43 One Hundred Scotch Melodies for the Pianoforte.

The whole of the songs are printed with Pianoforte Accompaniments.

CHAPPELL'S NEW MUSICAL ALBUMS, In Volumes, beautifully bound in various coloured cloth, with gold letters, borders, and gilt edges. Price 4s, each.

CHAPPELL'S ENGLISH BALLAD ALBUM; containing 36 Songs by Balfe, Wallace, Barker, Glover, Linley, Lover, and other Popular Composers, all with Pianoforte Accompaniments. Price 4s., bound with gilt edges.

CHAPPELL'S ALBUM DE DANSE for the Pianoforte; containing 10 Sets of Quadrilles, 50 Valses, 40 Polkas, chiefly by Charles D'Albert. Price 4s., bound with gilt edges.

CHAPPELL'S SECOND ALBUM DE DANSE for the Pianoforte; containing Quadrilles, Valses, Polkas, Galops, Schottisches, Varsovianas, Polka- Mazurkas, Redowas, and French Country Dances, by Charles D'Albert, &c. Price 4s., bound with gilt edges.

The Two Albums de Danse comprise a complete collection of all music requisite to the Ballroom.

CHAPPELL'S CHRISTY MINSTREL ALBUM; containing 52 Songs, with Choruses and Pianoforte Accompaniments, including "I'm leaving thee in sorrow, Annie," "Friends of my youth,' "I'm returning to thee, Annie," "Rosaline," &c. Price 4s., bound, with gilt edges.

CHAPPELL'S SACRED VOCAL ALBUM contains 36 Songs and Duets, by Handel, Barnett, Glover, the Hon. Mrs. Norton, Smart, Abt, Moore, Marcello, &c. Price 4s., bound, with gilt edges.

CHAPPELL'S ITALIAN SONG BOOK; containing 32 Italian and German Songs, by Verdi, Mozart, Flotow, Schubert, &c., all with English as well as the original Words and Pianoforte Accompaniments. Price 4s., bound with gilt edges.

LONDON: CHAPPELL & CO., 49 & 50, NEW BOND STREET W.

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