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expresses with sufficient felicity the power which more than any directs and swayB his desires and operations. Shakspere himself—or Ulysses for him in Troilus and Cressida—no mean authority, seems to counsel this struggle for precedence and advances passing shrewd reasons in support ,of it. The lines are not unworthy citation as pertinent to the subject

"Take thou the instant way;

For honour travels in a strait so narrow,

Where one but goes abreast; keep then the path;

For emulation hath a thousand sons

That one by one pursue. If you give y»y,

Or turn aside from the direct forthright,

Like to an enter'd tide they all rush by

And leave you hindermost; and there you lie,

Like to a gallant horse fall'n in first rank,

For pavement to the abject rear, o'er-run

And trampled op." But there is limitation to all things and haste is as likely to defeat accomplishment as delay. The express train may be too fast as well as the modern dandy, or " swell," and the fable of the hare and the tortoise becomes applicable to the commonest employments of existence. In, this rapid whirl of contention for antecedence, involving an utter disregard of time, much mischief is done. Everything is hurried and nothing produced is good. Houses and operas are run up in an incredible short space to the manifest injury of tenants and audiences. Nevertheless tenants and audiences are soon taught to respect that order of things which gives them variety if not excellence, and in the end the public becomes like the Giaour in Vathek, who, when the children were being thrown into his cavern, kept still crying out "more, more."

There are, indeed, some things in which the quality denominated " fastness" is entirely to be deprecated and in which the general public, by encouragement, exercises a powerful influence. The excessive acceleration of the tempo in music by orchestral conductors is one of those emphatic signs of the times and constitutes the greatest possible injury to the piece being played. So widely has the innovation spread that we hear complaints from many quarters made about the most notable conductors. A few days since our own Paris correspondent protested strongly against the time in which the finale to the second act of Lucia was taken by Signor Bonetti at the Th6atre-Italien, aud one or two of the metropolitan musical journals urged the same objections. So fast was the finale taken, it was said, as completely to render many of the fiddle passages inaudible, perhaps impossible to play. Now, °ne doubts that Signor Bonetti is a clever and experienced chief of the orchestra; therefore "these sudden start* of his fright us the more." But, to show that Signor Bonetti is not a solitary example, we might point to two cheft-d orchestre even more renowned than himself, who are occasionally led away by their impetuosity or their eagerness to produce brilliant effects into very strange departures from the expressed signs of the composers. It is not often we have to find fault with Mr. Costa's conducting at the Italian Opera; but even he, accomplished and expert master of the Mton as he undoubtedly is, sometimes lays himself open to serious criticism—an instance of which occurred last season at the Royal Italian Opera in the performance of the overture to Mataniello, which was taken at such railroad speed as almost entirely to defeat the executive prowess of perhaps the finest band in Europe. At Her Majesty's Theatre—as if to establish a rivalry in the "fast" school— Signor Arditi, an admirable and long-tried general of an instrumental force, took so well-known and well-measured a piece as the finale to the first act of the Barbiere at such a

pace as must have astonished and dismayed the accustomed ears of the habituees. No doubt, could Signor Arditi have heard the piece played according to his indication of the tempo, he would have been no less astonished and dismayed than the habituees.

We believe conductors—Italian conductors—are led away in their anxiety to please, or, rather, "hit" the public, who like to be stirred up even at the expense of correctness and legitimacy of effect. When the overture to Bon Giovanni almost invariably passes without a hand of applause and the overture to Zampa seldom escapes an encore, some excuse may be pleaded, on behalf of, to say the least of it, such inattention, or such want of respect for the music The public, which sanctions these "fas$" displays, has to blame itself. Vehement applause and encores are temptations too strong for ordinary conductors. R.

MADLLE. PATTI IN PARIS.

{From a correspondent^.

THE Parisians, with the best possible grace, have accepted a new "reputation faite a Londres'the third within the last fifteen years. Just as they welcomed Mad. Aiboni, in 1847, aud Sig. Tamberlik, three years since, they have welcomed Mdlle. Adelina Patti, who, on Sunday (the 16th inst.), at the Op6ra Italien, made her first appearance in the' "Metropolis of Civilisation and the Arts." That the highclass Parisian audience (such as that which patronises the Th6atre Ventadour,) is one of the most courteous as well as one of the most critical, one of the most readily moved as well as one of the most suspicious and apprehensive of being "taken in," and thought "bete," it is scarcely necessary to say at this period. They have very little faith in American, less in English-made celebrities; but, as "one touch of nature makes the world akin," so a single touch of genuine expression, a single brief revelation of true artistic instinct or acquirement, is enough to disarm them and enlist their sympathies at once.

The brilliant triumph—for it was nothing less1—achieved on Sunday, and confirmed last night (Thursday), by Mdlle. Adelina Patti, in the part of Amina, is a remarkable case in point. In no former instance that I can remember were the Parisian connoisseurs more on the alert, more suspicious, more insensible to the voice of rumour speaking in praise of one to whom (as to Jenny Lind), the baptism of the French Capital was yet wanting. To read their papers—daily, weekly, fortnightly, and monthly—it was easy to perceive that a failure, or at the least a succes de tonffrance, was reckoned on as certain. At the most—pre-supposing the most favorable issue—a sort of "Piccolomini reussie," a "Cabel Italaniasee etperfectionnee," was regarded as possible. The "Bohemienne"—as Mdlle. Patti was christened, by the devoted "tail" of certain cantratrices hitherto unable (as the "Bohemienne" has been able) to raise the enthusiasm of the somewhat apathetic frequenters of a great lyric theatre on the banks of the Thames, and to signalise whom by name would interest none of your readers except those who have already guessed them—the " Boh<jmienr.e " was to pay a heavy penalty in face of an audience more polite and more accomplished than any other audience in the world, for the silly raptures of "Perfidious Albion," on which, if she plumed herself she would immediately be apprised of her error.

Then came an audience strange,

And took me from my enott*-h '.>iff . <, .

—would doubtless be her exclamation of despair on the daysucceeding her debut. As the fog and smoke of London had, on a certain May-morning, proclaimed her famous who was previously obscure, so would the sunshine and clear atmosphere of Paris, on a certain November morning, proclaim her obscure who was previously famous. The clubs and '• circles" (including the Jockey club, and the Due de Grammont Caderousse, yesterday acquitted, by an enlightened jury at Marseilles, of the voluntary homicide of an Englishman, who chose a pistol and was killed with a sword); the journals, (including the Moniteur Universal, and the France non-universelle, with Signor Fiorentino, who, we are happy to say, has recovered from a paralytic stroke), the cafe's, the boulevards, &c, &c, were evidently of this opinion. "La Patti /era, Mr. Dillon of Tlie Sport fiasco:"— and this, while the members of the orchestra and the artists, (those to whom the success or the failure of the new comer was a matter of personal indifference,) were rubbing their hands with malicious satisfaction, after the experience of a rehearsal, in itself the prophecy of triumph.

Well, the night came—the (to our young debutante, whose English, and American, and German, and Belgian laurels were about to be snatched from her girlish brow by the unrelenting hand of Parisian dilettantisme) memorable night of the 16 th November, 18G2. The house was thronged by an audience whose excitement before the drop scene was feverish and noisy, but who, no sooner were allowed a glimpse of the stage than they became mute as mice—silent as 6tones, rigid as the board of Inquisition, or the inscrutable Council of Ten. Nevertheless, the "Lisa" of the evening (Mdlle. Danieli, not as one of your correspondents has created her, "a barytone") was applauded and caressed just as a coquet, who, in her heart, looks up to one man, will, to vex him, bestow her favours on another, ever so much his inferior. At length, with elastic step, and artless innocence of mien, "Amina" tripped before the lamps. Not a hand, not a voice, bade her welcome, not a bit of encouragement, however trifling, made her feel that she was in presence of an assembly of ladies and gentlemen to whom she had never given cause of offence, and whom she was about to make her best efforts to please. "Un accueil vraiment glacial," said a critic (a Frenchman), whose mind had already been made up, to an amateur (an Englishman), who, with the "phlegme" attributed to his countrymen, looked on with cool indifference, and merely replied "Ecoutons."

However disconcerted by such a cavalier reception, the young singer, apparently unconcerned, began her recitative. A phrase or two sufficed to melt the ice in which the affectedly stern but really generous public had, with illassumed cynicism, embedded themselves. The "Come per me sereno", speedily followed; and here a "son file" (as only in the present day Mdlle. Patti can perform this particular feat) scattered all prejudice to the wind, and "Brava! brava! bravissima!" rang through the house. At the end of the slow movement the triumph of the new comer was a fait accompli.

I shall not intrude upon the readers of The Musical World my criticism of an Amina, with the manifold beauties of which they are so well acquainted. It is enough for uie to state, that the cabaletta was a3 successful as the andante; and that after the duet with Elvino, which brings down the curtain upon Act I, Mdlle. Patti was led on by big. Gardoni, and hailed with reiterated acclamations, which would not subside until she came forward again and again. In the "foyer," between the first and second acts, all musical and critical Paris congregated; and a Babel of

indistinguishable clamor proclaimed the excitement the new reputation "faite a VAnglaise" had created. The second act was the scene of a still greater triumph. The former cold and ascetic audience were now besides themselves with enthusiasm. The dramatic and intense finale, dramatically and intensely portrayed, brought down the curtain amid applause that must have made the heart of the young singer glad, as it plainly made her dark eyes glisten.Three more recalls ensued, the devoted "Elvino" (Gardoni) gallantly leading on his "Amina" on each occasion. It is scarcely requisite for me to say that the last act—the descent from the mill, and the " Ah non credea," and the "Ah non giunge "—was the culminating point, the Finis coronal opus. Again thrice recalled, overwhelmed with plaudits, and oppressed with magnificent bouquets (one might have imagined that summer had come back to witness the "solemnity"—Spring consigned by Autumn to the care of Winter), the "Amina" of the evening retired, to sleep, no doubt, upon a bed of roses. She came, she saw, she conquered; they came, they saw, they yielded—not recreant, but serviteurs devoues. Thus Adelina Patti has received the baptism of Paris—which, moreover, has pronounced her a great actress. Enough for the present. C. L.

P.S.—I may add that Mario will make his first appearance at the Opera, as "Raoul," not as "Masaniello." The Muette has been postponed, owing to an accident at the rehearsal (on Saturday, the 15th), which nearly cost Mdlle. Emma Livry ("Fenella") her life. Her clothes caught fire at the lamps, and she was so severely burnt, that even now apprehensions are entertained of her recovery. One word of Cosi fan tutte. The singing of Alboni, as "Dorabella," was absolute perfection. More anon. Meanwhile I send you the Revue et Gazette Musical.

Mdlle. Mabie Flobiani's Concert.—Among the artists already engaged by this lady for her grand concert, are Mr. Benedict, Piatti, Fortuna, Engel, and Herr Reicnardt.

Mavence.—As a prelude to the Schiller Festival, Handel's oratorio Judai Maccabatu was performed, under the direction of Herr Riehl, in the theatre. The chorus was composed of the Singvorein of this city and of a large number of the members of that from Wiesbaden, under Herr Hagen. The execution of the work was only partially successful, although the choruses, tliauks to the fresh voices of the singers, went well; but we cannot say we were contented either with the tempo, which, in many instances, was taken too quick, or with the mode of conducting adopted by Herr Riehl. The way in which the different numbers were taken up was frequently deficient in precision; it is true that there was no want of light and shade, but the latter were too strongly contrasted, and had a parrot-like effect. The orchestra was weak and did not always follow the conductor; the accompaniment of the recitative was hardly ever precise. Whence Herr Riehl derived the right of employing two different tempi iu the chorus, No. 21. ii major, 3: "Dringt eiu in die F'einde" is for us an enigma. After beginning in the allegro, which he took nearly as a presto, ho suddenly, iu the middle portion in I) major: "That thy pow'r, oh, Jehovah, all nations may know!" went off iuto an andante; then, at the semiquavers of the violins in Q major, returned to an allegro; next, introduced the andante, and continued, alternating in this fashion, to the conclusion—nay, he even had the first eight bare of the postlude for the orchestra played allegro, and the last eight andante! With regard to the solo parts, the best given was that of Judas Maccabasus, mug by Herr Zottmaycr, from the Frankfort theatre; the bass singer was deficient in right conception and correct rendering, especially of the recitative; he sung, for instance, in No. 8, " Hinport sci Maccabama (forte) euer Fttrstl" (piano), and, at the end: "And lead us on to victory" which is wrongly translated, " Segen" "blessing" being substituted for " Sieg" •' victory ") indulged in a very Bentiinental piano. The two Israelitish women (sopranos one and two), also, were not equal to their work. They were out of time in the last duet: "Nein nicmal beugter wir das jKnie," most consistently from beginning to end. The best executed piece in the entire performance was the final chorus :^"Hiir' uns, O Herr, der Gnade Qott," of the first part.— Nkderrheinische Mutik-ZeUung.

HER MAJESTY'S THEATRE. The "International Exhibition season" came to a close on Saturday week with a varied entertainment, consisting of Lucia di Lammermoor and a selection from Don Pasquale, Mademoiselle Titiens, who has rarely eung more admirably, played both Lucia and Norina, delighting the audience as much in the comic as in the serious character. At the end of Don Pasquale she introduced (in place of the usual finale) a brilliant raise, the composition of Signor Arditi, entitled "L'Arrlita''—a wonderful piece of execution, which brought down the curtain amid unanimous and hearty plaudits. Signor Giuglini was Edgardo in the first opera and Ernesto in the second ; the other chief characters being variously intrusted to Signors Ubaldi, Badiali, and Bossi—the last of whom, a very young man, attempted the part of Don Pasquale. There was a full attendance.

MONDAY POPULAR CONCERTS. A mere transcript of the programme, with the names of the performers, and a statement of the fact that St. James's Hall was, as usual, crowded jn every part, would ordinarily suffice for a record of these concerts. As Herr Joachim is so soon to leave us for the resumption of his official duties at Hanover, the commencement of the Monday Popular Concerts some weeks earlier than usual is a real boon to the London public, who, never slow to recognise talent, show most unuiistakeably their appreciation of the great Hungarian violinist. It would be hardly possible for any capital in Europe to bring together at one concert four professors of higher eminence than those who were heard on Monday last, for with Herr Joachim were associated Mr. Charles Halle' (than whom there are few pianists of greater ability), Mr. Sims Iteeves (who stands alone amongst tenors), and Mr. Benedict (whose reputation as a composer is only equalled by his skill and exquisite taste as accompanyist). Moreover, it was Mr. Benedict's first appearance since his return from the Continent, where we trust he will have recruited his powers after his long and arduous labours of the past musical campaign. Six pieces comprised the entire scheme. The magnificent quintet in G minor of Mozart (allowed by all musicians to be one of the finest inspirations of the composer) went to perfection; indeed, it could hardly be otherwise, with Herr Joachim for leader, and the co-operation of such artists as Messrs. Louis llies, Webb, Hann, and Signor Piatti—all worthy associates of their chief. That the applause was commensurate with the beauty of the work and the excellence of the performance will be readily conceded. For the eighth time Mr. Sims Reeves sang that exquisite circlet of love songs, the Lieder Kreis of Beethoven, as perhaps no other artist can sing it. Weber's imaginative and romantic sonata in D minor, introduced for the second time by Mr. Charles Halle, well deserved the hearty reception it met with. Again Herr Joachim selected Bach for a display of hia powers, taking the prelude and fugue in A minor for his solo. The violin fugues of the old Leipsic master bear such a strong family likeness to each other that the motto, "ex uno disee omnee," may be fairly applied to them, and if they do not strike any sympathetic chords in the soul of the hearer, must always command admiration for the artist who lias the courage to attack such difficulties, and not only vanquish but cause a demand for their repetition. A new song of Bluinenthal's, "The Message," was similarly honoured, thanks to the admirable manner in which it was sung by Mr. Iteeves, who seems just now in finer voice than ever. Beethoven's trio in G major for pianoforte, violin, and violoncello, brought the sixth concert of the season to a satisfactory termination. Our readers should bear in mind that Herr Joachim can only make two more appearances.

A MORNING AT THE PIANOFORTE. This is the name of a new entertainment which Mrs. John Macfarren gave with complete success, at St. James' Hall for the first time on Thursday last. Numerous as are the illustrated lectures which are now before the public, it is no little merit in the one under notice that it enters upon a field hitherto untrodden, and it is still more worthy of praise that this new ground is essayed with admirable effect. The purport of the entertainment was to enhance the interest of a morning spent at the pianoforte, by some personal account of composers, from whose works selections were made for performance, including characteristic anecdotes and comments on the specialities of their music; and thus to break down, in some degree, the barrier of strangership which btanda between the uninitiated amateur and the musician whose writings he cannot wholly enjoy, while he lias no clue to the author's aim in their production. Conspicuous in the course of the lecture were some remarks upon Weber, Handel, Haydn, Mendelssohn, Beethoven, and Thalberg; and the very various styles of these composers were still further contrasted by the choice of some pieces by less known

writers which were equally calculated to display Mrs. John Macfarren'a qualities as a pianist. Among these was a Caprice de Concert of her own composition upon the national air of threefold popularity, which is severally claimed by the English, as, " My lodging is on the cold ground," by the Scotch, as " I lo'e na* a laddie but ane," and by the Irish, as " Believe me if all those endearing young charms;" the caprice is eminently brilliant and effective, employing to advantage all the modern resources of the instrument, and drawing forth all the beauties of the theme on which it is founded. It is rare, if not an entirely new thing, for a lady to appear as a dictactic lecturer; and the clear and emphatic delivery, the unaffected maimer and the tone of thorough earnestness of Mrs John Macfarren, Bhowed her fully equal to the arduous task she had undertaken, awoke the warmest sympathies of her numerous audience, and elicited their cordial appliuse. Her playing of the entire selection was worthy of the character as a pianist which she has already gained—remarkable for clearness and brilliancy of touch, and discrimination of the distinct individualities of the different composers. The instrumental selection was diversified by Miss Elia Hughes'graceful singing of a Canzonet of Haydn, the song of "Aa, why do we love," from Don Quixote, and one of the Old English Ditties which prove, in the words of the lecturer, that our national music is more extensive and more various in character than that of any other country. The entertainment never flagged in interest, and was in every respect such a one as a lady could give, and such a one as would be infinitely more attractive at the hands of a lady than from any other person who could deliver it; it is certain to please wherever it is heard, and we anticipate that this will be in all places to which such a performance is available.

Okoax-mcsic Xsd Obqan Playing At Bostoji (america).—Mr.J.K, Paine's first concert for the Sanitary Commission took place at the West Church (Rev. Dr. Bartol's). There was a good assemblage of earnest listeners. Musically it was an occasion of great and unique interest, and altogether a success. The most effective pieces were those in which the full organ was employed, especially the two toccatas b-< Bach. For these the instrument lent itself more heartily and positively than to the choral variation and the sonata-trio, in which the softer stops employed had a certain unsatisfactory dullness and monotony oi sound, a lack of that clear, pronounced individuality which goes with sweetness in most of the excellent organs by the same makers. In the variation, to be sure, the choral melody sang itself upon a reed.(oboe) stop of marked quality, which stood off in good contrast against the flowing figurative accompaniment; yet the voices mingling intertwined in this were dull; no fault of the organist's, whose rendering is always clear and accurate, keeping the individuality of the parts distinct, and binding all together in an artistic complex whole. It was a little unfortunate that the trio-sonata began immediately after, with a selection of stops, different indeed, and doubtless the right ones, but yet of w essentially the same quality of tone, that the ear was not roused to seize hold of the movement with the fresh appetite of contrast. No one, however, could fail to become interested in the work as it went on. It is a beautiful imaginative composition, in E minor, for two manuals and the pedals, each performing the part of one person in the trio. Its three movements, the first and last quick, the middle one an andaaU and a lovely one, conform closely enough to the developed Sonata form of a more modern day. It is one of six such [trio] sonatas by Bach, and they are full of the fine poetryj as well as of the euphony and cunning art of music, in which the inspired old master contrapuntist stands unrivalled. But the toccatai, in D minor and in F, leaped out with real spring and vigor, salient and solid in their strongly moulded limbs and muscles; for the full orgfcu is truly telling, rich and brilliant. What glorious disportings of a free, strong, wholesome fancy those toccatas are! How quaint, full of honest sense and humor! Union of play and earnest—and how much more rewarding then the forced, sophisticated feats of modern virtuosity, fantasias, and what not! And yet Bach always is himself; in the fugue he had mastered the vital principle and secret of all form in art , just as philosophers have traced the spiral through all growth in nature. Fugue had become second nature with him, the readiest, spontaneous method of his whole musical activity; not an acquired artificial system, a thing of learned pedantry, but a live instinct of genius, of the rare soul of music in him. And so in these free toccatai, these fanciful and flighty toucket as it were of aftivating themes, ideas, to be played with freely, rather than worked out with exhaustive contrapuntal treatment, he still relapses now ami then involuntarily into the fugue habit: for fugue with him is jnst as free as fancy; and each fancy all the more charming that it takes perfect form. These pieces were admirably played by Mr. Paine; the precision, fluency, connected sequence of each part in the harmony, aad especially the rapid pedal passages, being fair specimens of whit organplaying is in Germany, the land of Bach. Wo could not help thinking it a defect in the programme, that it did not include at least one regular organ fugue by Bach; such as the grand ones he has played in farmer

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10J. Introduction

11. Rondo,11 I'm a model page." Contralto

12. Trio, " Welcome, welcome." Contralto and two ]

13. Grand Scena, " 0 rank thou hast thy shackles." Soprano 13a. Air from Scena, " Now, 'tis not a vision. Soprano

14. Duet,11 As in a dream I wander." Soprano and Tenor

15. Finale, " We are glad to see" (Complete)

•15a. Part Song, " Corin for Cleora dying'' „

ACT III.

18. Introduction and Air," I have brought my daughter." Bat 17. Ballad, MThose withered flowers." Soprano...

'18. ThMV " To th# leeTet." Rnnntnn ■
'19.
19a.

21.

21a. 29. 23.

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Duo, " To the secret." Soprano and Tenor

Ballad," Lovely, loving, and beloved." Bass

Ballad (Transposed)

Scstetto, '• In mystery shrouded" Soprano, Contralto, Tenor, and three

Basses j ... ... 4 0

Recit. and Air, '* Kight, love, is creeping." Tenor 2 8

Air (Transposed) 2 8

Duet, " Hear me, I must speak." Soprano and Tenor 3 It

Finale, "All to the ball" 5 8

Separate Voeal Parts are published.

PIANOFORTE ARRANGEMENTS.

Favourite Airs from Wallace's Opera, Zore'« Triumph, arranged by W.

Calicott, in Two Books ; Solos 5s., Duets

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

Trekell H. Theodore), Fantasia

. 11 Lovely, loving, and beloved"

• "Night, love, is creeping"

adrille, " Love's Triumph," arranged by C. Cootc (Illustrated) alse, ditto ditto tIllustrated) Galop, ditto ditto (illustrated) The Page Polka, ditto ditto flllustratcd) for Military Band, by C. Godfrey, Benr

Other Arrangements in the Press.

v,

... 15 0

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PRIZE MEDAL FOR BOOSEY & SONS' MILITARY BAND INSTRUMENTS, CORNETS, *c—Booset * Soxs hare cues pleasure in announcing that these instruments have received the Prize Medal of tia International Exhibition. An Illustrated Catalogue may be obtained upon epplicauoa to the manufacturers, Booset A Sons, 24, Holmes Street, W.

MOZART'S JUPITER SYMPHONY for Pianoforte, by HUMMEL. Price 2s. full size.

Boosst A Soxs, Holmes Street.

T<HE CECILIAN PITCH PIPE (a new invention), for

I the waistcoat pocket, is superior to all others, being much more powerful" tone than any other at present in use—the pitch does not vary, whether sounded Plata or Forte—is easily repaired, or the pitch altered if required.

Price (any note), 2s. 8d. Post-free.

Boosst A Cmx«, 24 Holmes Street, W.

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BOOSEY'S FIFTY SHORT VOLUNTARIES FOR THE HARMONIUM, arranged by Nordmann from the works of Hard". Mozart, Marcello, Beethoven, Handel, Bach, Hasse, Neumann, GlUck, Siroll, unw. Wolf, Caldara, Clamps, Bassanl, Ac. Price M. 6d. in cloth.

Booset and Boss, Hollos Street.

E SERIOUS SEVEN AIRS (Nos. 1 to 7) with all

the Variations for the Violin. Price Is. Also, for Violin and Piano, a, Sd. Booesr and Bona, HoUea Street,

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