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en In spite of all this, however, it was not till 1736 that he deepest submission, a concerto of my composition at the mobtained the coveted title of Court-Composer. The fol-feet of your Royal Highness. I have cited myself to answer blowing extract from the archives is given at page 223 →→

"On the 1st December, 1736, the celebrated Serene SachsenWeisenpelsist Capellingister and director Musices, of Leipsic, Herr Johann Sebastian Bach, played from 2 to 4 o'clock in the afternoon, upon the new organ in the Frauenkirche, in presence of the Russian Ambassador, Von Keyserling and a great many Proceres, as well as of a large assembly of artists and other persons, by all of whom he was especially admired. In consequence of this, his Royal Majesty has been pleased to appoint the said J. S. Bach, on account of his great be skill in composing, to be his Royal Majesty's composer." + i

The new organ in the Frauenkirche was built by Gottfried JSilbermann, and delivered up to the Council on the 15th

this act of audacity to myself, and, in addition to the obligation I am under of rendering an especial account of the employment of my talent to my native country and its noble rulers, I have found other reasons which compelled me to venture on this bold offering to your Royal Highness. Before all other reasons was the conviction which I once enjoyed to the high happiness of once gaining in Dresden of your Royal Highness's lofty quickness of perception in music, when a young man of the name of Goldberg, then in the service of Count von Kayserling, Russian ambassador at the Electoral Court of Saxony, had the high honor of giving

had

Jas November, 1726, by Friedmann Bach. Wilhelm Friedmann a specimen of the skill which, under my circumstances

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of the event, so fortunate for me, because they procured me, at the same time, the rare opportunity of admiring more closely the practical capabilities of your Royal Highness in vocal art, and because they at present strengthen one in the sweet hope that your Royal Highness will graciously cast a favorable glance upon this little attempt, which, as a lover of music, I

er as a mark of my deep respect, to so

memorial addressed, from Leipsic, 7th June, 1733, to the Town-Council, Dresden, for leave to gives a specimen of his skill, and, in a letter of the same date, besought the y Councillor of appeal and Town-Syndic, Dr. Schröter, to baccord him his high patrocinium. Among the numerous competitors for the vacant plade of organist, Bach, Cristoph Schaffrath (formerly composer and harpsichordist in the service of the Polish Prince Sangusko), and Johann Christian great a patroness of music." The letter is signed: "Wilhelm 03 Stoy (Informatori in the Foundling Hospital, Dresden), Friedmann Bach, lately appointed Capellmeister to his Serene bewere permitted to a trial of skill, on the 22nd July, 1733, Highness, the Landgrave of Hesse-Darmstadt.". As postTat 3 o'clock in the afternoon, in the Sophienkirche Bach, script we find the remark: "Your Royal Highness's Son ebaffaccording to the opinion and judicio of all the Musicorum (Friedrich August, the Just) will, in consequence of his of all the Musicom Hon was pronounced the best and most skilful," and, in virtue great skill in music, be very well able to perform the very of the protest of 23rd July 1733, appointed organist of practicable Concerto."ove With mula terif na the Sophienkerche. At the request of the Council, Pantaleon Heberstraits was present at the contest, and -90 celebrated young Bach's skill before that of the others." ai Friedmann received a fixed annual salary of 79 thalers, 19 ygroschen, 6 pfennings, besides an additional 80 thalers, and Lou Trank-Stener-Beneficium of three casks of beer, or an equivalent of 15 thalers. Heu resided in the Wildsrupper 10 Strasse, in the house of Mad. Alins, Court Councilloress, Ini and continued, under Herr Walz, Commission Councillor, and Court-Mathematician, the mathematical studies he had babegun in Leipsic. On the 16th April, 1746, he resigned dohis place, having an opportunity of bettering himself out Jof Dresden," and being obliged to enter upon the duties of his new appointment as early as Whitsuntide. At the same 9 time, he recommended Johann Cristoph Altnikol, the well 19 known pupil, and son-in-law of his father, as his successor. (Unfortunately, it was nota Altnikal-of whom, also, there -Toexists a memorial, dated Dresden 16th April, 1746, and addressed to the Town Council--but an unknown musician, do Johann Christian Gossel, from Lauenstein, who got the 90 post. Bach went as organist to the Marienkirche, Halle. eid These facts are taken fromda document of the Council DomArchives (Sect. III., Cap. VII, No. 67), through the kindness of Herr Naubert, the Burgomaster. The Royal Saxon private collection of music in Dresden contains a concerto by Friedmann for the harpsichord, with an accompaniment for two violins, viola, and bass, (it is arranged, also, for two harpsichords). He sent it with a letter (dated from Halle, 29th July, 1767), to the Electoress, Maria Antonia. The letter commences as follows: "I herewith lay, with the

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† JINJEM DASTUKJE POKE BI (J1519E 19 DILIGE 19 115 W
may, indeed, delight the ear, but that Brook must be much more valued that,
no with rapid hand, can effect such wonders.

sins til It is said that when Orpheus formerly struck the lute, he attracted at the
beasts in the forests; this must assuredly be asserted more strongly of our
.9081 Brook, because directly he plays, he
e sets every one wondering."

The point (?) of these verses consists in the double acceptation of the word ocy "Bach" the name of the great musician and the German for "Brook."

The Pantaleon Hebenstreit mentioned above was very celebrated as a violinist, and the inventor of the instrument "Pantaleon" (Pantalon), on which he was a virtuoso. He was born so we are informed by Fürstenau, Page 90 et He learned music, segg.) in the year 1669 at Eislebon. more especially the violin, and dancing. At the end of the seventeenth century, when he was residing as a dancingmaster at Leipsic he invented a new instrument, a kind of dulcimer, called by Louis XIV, before whom he played at Paris in 1705, and whom he pleased very much, Pantaleon, after Hebenstreit's christian name. In 1706, he was summoned to Eisenach, as Director of the Chapel, and Court Dancing-master. Teleman, who, also, went to Eisenach, two years subsequently as leader, pronounced the following opinion on Hebenstreit's violin-playing: "Whenever I had a double-concerto to play on the violin with Hebenstreit, I was always obliged, in order to be anything like him in strength, to shut myself up, sometime previously, with my fiddle in my hand, and, having tucked up my left shirtsleeve, to anoint my nerves with strengthening applications, so that, in this fashion, I might prepare myself for the contest." As a "Panteleonist," Hebenstreit created such contest." a sensation, that he was called to Dresden by Frederick August I, and immediately entered the chapel as a ChamberMusician, with an annual salary of 1200 thalers. Before going to Dresden, he made a journey to Vienna, where he was presented by the Emperor with a gold chain and the Imperial portrait. He quickly became very popular at the Court of Saxony, but did not play on his instrument later than 1738, when, being sixty-six years old, he was attacked by a weakness of the eyes, on account of which his pupil, the Court-organist, Richter, had to play the Pantaleon, after 1734, when required. For this he 285 received on,

thalers. In the year 1729, Hebenstreit was charged with the direction of the Court Protestant sacred music, and the superintendence of the boys belonging to the Chapel, by an Torder dated Dresden, 16th March, 1740, he was appointed

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*

MADLLE PATTI IN PARIS. t as done um dons to: Torsqma eri aiste¶ al

(From a correspondent.)

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"Geheim-Kämmerier," and died, on the 15th November, 1750, eighty-three years of age. As early as 1697, he was a master on his instrument, as is evident from a letter Kuhnau to Maltheson, Orit. Mus. PARIS has accepted Adelina Patti. Suspicious at the 2 page 236 et segg.), in which the writer describes a' contest outset, the Capital of Civilisation and the Art between himself and a noble amateur upon the lute (Count speedily warmed to the young and engaging Stranger, and M Logi and Hebenstreit). He says of the last: "At length, now, at every fresh appearance, welcomes her à bras ouverts, Monsieur Pantaleon went through his capers, and after laying its homage at her feet, with the devotion of a performing for us a store of music, by preluding, extem-chevalier. The abonnés (subscribers), who had been robbed porising, fugueing, and executing all sorts of caprices with by M. Calzado of the privilege of witnessing her debut (on. “ the bare sticks, wrapped the ends in cotton and played a Sunday, the 16th), amply confirmed, by their enthusiastica part (Parthie). The Count was completely carried away. plaudits (on Thursday, the 19th), the unanimously favorable taro S He took me out of his room over the hall, and, listening verdict of the gros public which, albeit, etant de Voture" ting from a distance, said: Ah! what is that? I have been (to employ the indolent phrase of the Viscomte de Noe),END in Italy, and have heard all that is beautiful in music, but I knows perhaps as much about singing as "its betters The d never met with anything like that." The instrument must third performance of La Sonnambula (on Saturday, the 18th) have been difficult to learn and to play. Kuhnau says that brought the most brilliant success of all. The abonnés wall a lif the study of it was a Herculean labor, and, on this not now hear of Mdlle. Patti's appearing on a fon subscrip ele account, few students turned their attention to it. tion night; and so the lucky impresário, who had calculated st Maltheson, also (Crit. Mus., p. 248), speaks of the difficulty upon having a second "bumper," to his own exclusivene of playing it, but, at the same time, of its buzzing, advantage, with Lucia di Lammermoor, was muleted in his beautiful, and clear sound, which was siren-like. Kuhnaur expectations. "Nimporte," says M: Calzado, I Have got himself was very fond of playing on it, and possessed her for three years. He may fairly thus console himself al a Pantaleon reaching from the sixteen-foot E diatoni although as "la Patti" is not likely to be merely a three need cally to the right-foot Gy and thence chromatically to years', or even a nine years (much less a nine days asm the three-line E. But instruments of this compass were wonder he will have to measure his wits, at the expiration Isoda uncommon. They usually had five octaves, reckoning of that term, with the wily emissaries of the Czar, Who temud from centre G, and were, therefore, equal in compass to already, I am informed, have besieged her with supplications did the harpsichords of the period. The traveller Keysler and tempted her with roubles counted in millionis.On'Aït,3⁄41⁄4 thus describes the Pantaleon: "An instrument of this she will not be tempted I be ledes tilviswob & ti benen description can still be heard in Vienna, because the 3 On Tuesday (the 25th) the second essay was made. Thế đ M Emperor sent some one to Dresden to learn how to play it.sad Lucia sang her love; her sorrow, her despair, Her made d It lies hollow, so that it can be turned round without ness, in accents that went to the hearts of the Parisians trouble, and the performer can play upon both sides with The house was crammed to the roof; and extra fauteuils two small sticks as on a double dulcimer. Its length is 134 abundance showed how far too few in number liver the sidw spans, and its breadth 33. The bottom is hollow, and on stalls. (Here the manager, dares not encroach upon the piti ** the side strung only with woven fiddle strings, and on the You Londoners meekly submit to forcible exclusion from other, in the higher notes with steel wires. It costs annually the Italian Opera I mean you cannot afford to pay guineas, sildng about 100 thalers to keep in order, because it consists of 185 for seats, but we in Paris are too too chary of our rights to ebon strings. Its sound is exceedingly loud, and fills the largest allow of their being invaded with impunity), impunity) As on the W room." The instrument was about four times as long, and twice first night of the Sonnambula, Mdlle. Patti's first entry, on l' sol is t as broad as an ordinary dulcimer. It was oblong in shape. the scene passed unfioticed. A dead silence was the freezing: qst When the catgut strings were played upon (with hammers, prelude to her opening notes. As on the first on the first night of the lo s of course), the tone, especially in the lower notes, was very Sonnambula, too, these first notes broke the charm, melted lomst grand and pompous, but softer in the upper notes; the the ice, and won the citadel-in a breath audience sound omitted by the wires was especially appropriate for were in raptures with every vocal phrase, large assemblies, and large rooms. One defect was the dramatic situation. The cavatina; the reverberation of the notes after the blow, Besides the (Sig: Naudih) and Enrico (Big Bartolini)

111

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Court Organist, Richter, Hebenstreit taught the succeeding Court Organist, Christ. Siegm. Binder, also. In the year 1772, Burnew saw the remains of the famous Pantaleon," in Binder's house, and Binder complained that the Elector would not have the instrument re-strung, and that he could not do so himself on account of the great expense. The last virtuoso on the Pantaleon was the Chamber Musician, 1, George Nolli, in Mecklenburg Schwerin." He, likewise, was one of Hebenstreit's pupils, and died in 1789.

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the contract the prostration under the maledizione;"
sestet and grand finale of the second act, and last, not leas
the scene of the madness, in the third, with that other, and leveled
more trying cavatina, were just so many, triumphs, in uninét gome
terrupted succession. "Lucy" was universally pronounced 94 95
equal if not indeed superior to "Amina." The applause ato of (2
the end of the mad scene was overwhelming bouquets, si
thrown from the most artistic boxes, lay thickly strewn at
the feet of the yoting singer; and twice was she compelled is word
to appear before the lamps, in obedience to a summons as dmn
Paris there can no longer be a question. She is adopted waitress
uproarious as it was genuine. About Malle. Patti's position ear
with one voice, and is the chief topic of conversation in shall s
circle.
every
Tonetnicupos eid salsa
Voulez-vous voir la gentillesse renie à la naibele, le naturelwondos
a la grâce, la déesse de la jeunesse, Hébé en personne? allez
au Théatre-Italien, aux jours de representations de Malle.
Patti."

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Such was the postscriptum of M. Hector Berlioz, Emperor of French musical critics, who attended Malle. Patti's first performance, and was also present at her lasta postscriptum-appended to a long and interesting feuilleton (Nov. 19th) upon other matters; for it is M. Delecluze, and not M. Berlioz, who reviews Italian Opera in the columns of the Journal des Debits. From the papers, however, you may, if you choose, glean for yourself, I shall not meddle with them Enough that in eulogistic phraseology the Parisian critics far transcend their brethren d'outre manche, d'outre Rhin, and even d'outr' Atlantique. Some few are astonished at the extreme Atlantique. Some few are astonished at the extreme purity of Malle. Patti's Italian accent. Perhaps they are unaware that she is Italian pur sang. Her next part is to be Rosina, the Empress having, I understand, expressed a wish to see her in the Barbiere de Siviglia (for which that illustrious lady cherishes a patriotic sentiment), and having also heard that Adelina can sing Spanish mélodies with the characteristic humor of a native. The Barbiere is announced for Saturday. Even to-day (Wednesday) there is not a place unlet #ocessed th pond aliw

+

I shall have something to say (you permitting) about Mario, who, on Monday night, at the Imperial Opera, as Raoul de Nengis, in the Huguenots, was treated by no means in accordance with his deserts. I wonder the public should have tacitly yielded to a flagrant exhibition of ill humor, ill feeling, envy and malice, on the part of a cabal, which made its hostility manifest from the very outset. M. Royer, the manager, himself, after the performance pronounced it a downright cabal, and I entirely agree M. Royer Mario has thrown up his engagement, and will be replaced, in Masaniella by M. Michot (Satyr to Hyperion). I send you M. Ha de Pène's, on the whole,

his

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rehearsal had been brilliant, Mario, in fine voice, master of his resources, singing in a manner to satisfy the most difficult among his friends. The illustrious tenor was less happy at the representation. It should be remembered that Mario is perhaps more timid now, after five and twenty years on the stage, than when he appeared for the first time in any theatre in Robert le Diable. A nothing puts him out. The least symptom of disfavor or even of hesitation in the audience paralyses him. He has been so spoilt! He cannot sustain himself his proper height unless supported by the sympathy of the audience. He, who is, above all, a magnetiser and a charmer cannot transmit the magnetic fluid but in an atmosphere at once genial and confiding. evident that a minority of the public were determined to judge Well! From the first act, his entrance on the stage, it was g him with ferocious impartiality, to reproach him for his accent, to monit note his least failing, account, not the tour de force which he had accomplished in learning the Huguenots in six days, in this memory but the little that might escape of Raoul, part new to him in French. Was it his fault if Mdlle. Livry burnt herself?if the Muette, at the moment of passing, was postponed to the Greek Calends?-that he was compelled, impromtu, tone36 unlearn the Ugonotti, for the purpose of stuffing his brain with the f poetry of the Huguenots? To be watchful of his pronunciation, to govern his memory, to overcome his anxiety, to carry away one part of the public by main force, to conceal perhaps an ill condition emin of voice such were the combined difficulties against which an artist, the least constituted to struggle, had to contend. He sang the air of the first act very well, with all sorts of vilas elegant vocal d refined ornaments. The whole house wit turns and applauded him, except one little coterie stuck-up and defiant which of had determined to extend no indulgence, except in the case that Mario would give proof of as much sonority as Gueymard. This out was like seeking cocoa nuts from a strawberry bush. In the second act Mario gave several doubtful tones, but also some very find chest notes in the finale. If at this period of the evening he had rash felt himself warmed by that benevolence which is always extended our !

to him at

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fair account of the proceeding.* From the same journal to less the Italian Opera, and which makes him at home moremil

46

which that gentleman contributes I extract the following:
Mario, que tout le monde au ministère et à l'Opéra dût plutôt
sollicité de prendre sa revanche a préféré s'incliner modestement
un peu durement prononcée hier par une partie du
public et n'en pas appeler. C'est un exemple rare de bon goût, de
modestie, de désintéressement.”39 063 913
gold of

devant la

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his characters, we should probably have had a third ident fourth act of the most magnificent. Instead of this, the symira os pathy of the audience gradually diminishing, the anxiety of the jeans stuck in his throat. singer increased in proportion, and his voice Two or three phrases excepted, in which the incomparable Mario was recognised, the scene which should have been most favorable to him, the grand duet with Valentine, merely confirmed the non success of the evening.. yogi haros ett. tegaine have marked the vulnerable parts of his nature, will easily explain ond Those who know their Mario by heart, those who, like ourselves," mOGT to themselves a failure which it is to d // ble which, let us add, it was impossible to the conditions in was made. every respect disadvantageous under which the essay Even to the Italians, moreover, Mario was not himself. He should ban -have been taken CEL veiling and unveiling was brilliant to day, cloudy to morrow, Fe himself by turns. If the public does nota ogul serves him and confidence is re-established, persist in asking of him that which he cannot give, if his memory drows is very likely to be true) we saw him hesitating at as superb at the second representation as we the first of al

We agree with the writer. Meanwhile Mario has set out for Florence, not, however, broken-hearted; the well earned reputation of a quarter of a century, guaranteed alike by the old world and the' e new, cannot be shaken, much less demolished, in a night. did a mi-lobatio odt now bas I

10

loubul dike rigub sda Laiteves odTonantie su MARIO'S RENTREE AT THE GRAND OPERAtibu The greatest expectation had been excited by the performance of last evening. The debût or the rentree, the attempt at acclimatizas the French stage of most celebrated and most beloved of Italian tenors could not leave those friends, of, art among the public indifferent. Y Yesterday morning last stalls were negociated in the environs of the opera at the rate of from 40 to 50 francs. There was great curiosity to hear Mario sing in French, to see him again on the scene of his earliest debut, always young, always handsome, always elegant, conqueror of time,

which does not count for this charming gentleman. Then it was meers, and to the army generally) gave a

known that the fuguenots in Italian-was one of his most splendid triumphs. Those who had

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P.S. We have this instant heard that Mario has thrown up his engagement at the Opers die gotten to learnt hea poradie te ditt blues of Jeft ban gume-or Jason-HODE PENETON Famosa mo tsugil oz ob TONBRIDGE Last year the gentlemen of the Castle took part but this year the Messrs. Flemings (whose establish-9310 Private theatricals, but thi may be for sending gentlemen to the artillery. on behalf of distressed Lancashire operatives, the Messrs. Fleming paying all the and "assisted" at one of the assembled in the Castle a little after nine, the best musical entertainments ever given ino 2151 or near Tonbridge. The concert, was under the direction of Mr. F. Hab Wright. The artists comprised Miss Eyles, Mr. Baxter, Mr. W. Cum- Hij mings, and Mr. Lewis Thomas. The programme was selected without great taste, the madrigals and glees winning most favour. Everybody appeared to be highly delighted, and the amount collected is above i £60.— Abridged from the Kent Times.d be seentoorwood to cookies yası 916 visit 008 Course. * The habithial fréquenters of the loperd,

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Although the success of Mr. Wallace's new opera would have justified its nightly performance, the discretion of the management has been shown in presenting it only four times in the week-on Monday, Tuesday, Thursday, and Saturday-by which arrangement the public appetite has been whetted, and some of the principal singers have had a rest they never enjoyed in previ ous seasons. We must not, however, say much about the repose enjoyed by Miss Louisa Pyne and Mr. Harrison, the week before last, for we heard of their taking advantage of the performance of The Bohemian Girl on Wednesday, to sing in opera at the Hull Theatre Royal. Love's Triumph has drawn very good houses, and the repetitions of the work have placed the performers more at their ease, while the dialogue has run more smoothly and smartly. The music was so well done on the first night, thanks to Mr. Alfred Mellon, his superb band, and everybody concerned in the representation, that we cannot record any improvement. On Wednesday Fra Diavolo was again performed, with Madlle. Parepa in the character of Zerlina. The popularity of Auber's music should induce the management to put forth the Domino Noir, which would, we feel certain, prove truly welcome. Mr. Wallace's opera improves on every hearing, and it will no doubt run on to the above mentioned nights until Christmas, when we suppose Mr. Balfe's new opera is to make its oppearance. Last night Miss Anna Hiles from Liverpool made her first appearance, as Arline, in the Bohemian Girl. Of her we shall speak in our next. Paradi

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From Beethoven to Blondin is a terrible long step, or rather no step at all, seeing you cannot jump, or modulate from one to the other. Hitherto St. James's Hall has maintained a character which should be jealously preserved. The new Philharmonic, the Vocal Association, and other concerts of high class music have been held here; while many of our leading artists have selected St. James's Hall as the locale for their benefit or special concerts. A place for everything, and every thing in its place," says an old proverb, and many will think St. James's Hall is no place for M. Blondin to exhibit in. We ourselves admire the "Hero of Niagara" as much as most people, but would prefer seeing him at the Alhambra.

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MRS. JOHN MACFARREN repeated her charming entertainment, "A Morn ing at the Pianoforte," to a crowded audience, at St. James's Hall, on Thursday, with even-greater success than attended her first performance. As the sister of Miss Julia Bennett and Miss Rosa Bennett while before the public two of the most admired actresses on the London stage we look for excellence in Mrs. Macfarren reading; and her eloquent delivery and graceful demeanour more than justify our expectations. Her playing admirably sastains her character as a pianist, and shows her to advantage alike in the ancient and modern, the classical and brilliant styles. The reception of Brissac's elegant study, The Butterfly, would have warranted her repeating the piece, and she was also greatly applauded in Thalberg's Elisir; her own Caprice de Concert; a selection from Mendelssohn's Songs without Words Handel's Harmonious Blacksmith, and some movements from Sonatas by Weber and Beethoven. Miss Eliza Hughes was encored in the song "AL why do we love," from Don Quixote; and her expressive rendering of one of the Old English Ditties, of which the beauty is so greatly enhanced by the modern accompaniment, delighted all her hearers.]

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Mr. Hatton's song,

WESTBOURNE HALL, BAYSWATER. A concert was given on Thursday evening at the above hall, by Miss Dempsy, the pianist, in aid of the Lancashire Distress. The attendance was not very great; but, as all the artists gave their assistance Hall, the sum beyond the average charges of thratuitously, and as the prices were was by no means inconsiderable. If every music hall in the metropolis would return as much to the Lancashire Operative Distress Fund, a very large sum would be collected. The artists co-operating with Miss Dempsy were Miss Messent, Miss Lascelles, and Mr Redfearn, vocalists; and Mr. Blagrove (violin), Mr. Richard Blagrove (concertina), and Mr. Charles Le Jeune (harmonium), instrumentalists. To speak of the Concert of last Monday. Beethoven's magnificent The vocal piece which seemed to please the most was Rossini's duet, and much loved septet was given, for the second time at the Monday" Mira bianca la luna," sung by Miss Lascelles and Mr. Redfearn with Popular Concert, and, as on the occasion of its first performance, evoked great artistic skill and taste. Mr. Redfearn, moreover, was magica applause long and hearty from the entire audience. The tuneful scherzo, admired for his Sing who mingles in which the violoncello Signor Piatti's violoncello discourses so with my lay, and the romance, Tho' all too poor," from Lee's eloquently, was encored with enthusiasm, the whole work being played Triumph. With so fine a tenor voice, and such downright good from beginning to end superlatively, not to be wondered at considering vocalization, it is somewhat strange that this gentleman is not heard that Herr Joachim, Messrs. Webb, Lazarus, C. Harper, Hutchins, more frequently in public. Miss Dempsy played with Mr. Blagrove Severn, and Signor Piatti were the interpreters. Mr. Lindsay Sloper Osborne and De Beriot's Concertante Duet on the Favorita for piano gave the well known and always welcome Sonata of Beethoven in G and violin, a duet for piano and concertina with Mr. Richard Blagrove, Major (Op31, No. 1) in his most finished manner, and joined Herr Joachim and two solos, and, in all, was favorably received. Vigubos (29 in Dussek's Sonata in B flat, which, thanks to the Monday Popular Concerts, has become almost as familiar as the famous Kreutzer, Re-s peated by desire," the Prelude, Loure, Minuet, and Gavotte, of Bach were played by Herr Joachim with as great effect as before. Those who remained for the final quartet of Haydn in E flat (Op 71, No. 3), enjoyed a treat, and we are greatly deceived if this, the first perform ance, will be the last. The vocal music must be briefly dismissed. Miss Roden's extreme nervousness prevented her doing the utmost justice to Cherubini's "Ave Maria" (in which Mr. Lazarus's clarinet obbligato was a remarkable feature); but in the tenor air, “Io son Lindoro," from Paesiello's Barbiere di Siviglia, she was far more happy, singing with charming voice and unaffected feeling. A new song by Signor Piatti (violoncello obbligato by the composer), very finely sung by Mr. Santley, was warmly encored; and another novelty, "Oh! moon of night," from the pen of Mr. A. Manns--the accomplished conductor of the Crystal Palace band also magnificently given by Mr. Santley, completed the scheme. At the next Concert Mendelssohn's Ottet will be repeated for the last time this season, and Herr Joachim will make his last appearance but one ment di dod & dritve podot itton and daw seres of wo

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SUNNY HOURS.

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-moitriɔozas quivol-siem(For music,)roned dove on to woud s'!!
Those fair, and bright, and sunny hours,
Spent
Peeping

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in of a Midst the cowslips and bluebell 1017s trigila A—‚rië When we played along the mill-stream, oli sat

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Hide and seek," from each bright sunbeam, ed andate to booggs 'Neath the shady, sheeny tow'rs, of thi63 1-bear 2050 36 lapen Toy priYouthful happiness was ours, wall-T

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The unfavourable weather on Saturday week deprived many of the pleasure of hearing a concert of great excellence. The principal attraction was again Herr Joachim, whose execution of Mendelssohn's violin concerto was a marvel of skill and expression. The accompaniments were admirably played, and it was not suprising that at the conclusion of so perfect a performance the applause should be loud and long-continued. In Tartini's sonata, introducing the famous "trille du diable," so thoroughly opposite in style, Herr Joachim was no less successful, literally astonishing his hearers. It is to be hoped that he will be heard once more at the Crystal Palace before his English engagements terminate. The symphony was Haydn's in E flat, and there was a new overture by

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A Clouded by no April show'rstoy die bins I zegare
Ah! those happy, peaceful hours,
Spent 'mid fair and fragrant flow'rs;
Childhoods' days are sunny hours!

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i bosings enThose fair, and bright, and sunny hours,
nisis spent in

J

perfumed bow'rs,tis & mobi There we watched the break of dawn,

O'er the kingcup dotted lawn;

When the skylark proudly soaring

Forth her silver music pouring;

We watch'd at eve the sun go home,

And lady moon came forth to roam, we vibald ng
O'er the trysting trees and bow'rs,
Where we spent those happy hours,

molod. Mid the young spring's sweetest flow's, MR
"Ah! those days, those sunny hours!

E. WILLIS FLETCHER.

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Letters to the Editor.

STUDENT OF PADUA AND AUTHOR.

FRENCH OPERA REVIVALS.

last three years, this Gentleman to know the truth assertion, however, is described as in want of training. Revival, too, seems to be

Sir-Will you alow me through the medium of your valuable paper to ask a few questions concerning the Opera (Student of Padua and its Author) written by a Gentleman of this town, I have heard for the in question has had an Opera in rehearsal and I should much like and further if he out of his numerous Articled Pupels, had one at the experation of the term of years qualfied to take the situation Advertised in yours of the 15th inst (via) A tenor for the Manchester Cathedral Choir, salary £70 per annum. Or for any other voice, looking only to his ability to read Music at sight. Or do you think he has been afraid of making too many Musicians? In the Hull News coppied from the Era I find it states H. Deral, has been for several years a resident on the contenant, this I hear, flatly contradicted, that H. D has merely visited Brussels during his Midsummer vocation and has never been a continous resident. Is it anything:1 more than natural to expect to be taught Music on application to a Music Docter, shurely it cannot be general that such proffsional men only teach a few Songs to their pupils, without any knowledge of the notes they are singing, as in many case I could bring before your notice. Trusting you will excuse my taking this liberty of seeking to occupy a small place in your paper, I remain Yours

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A. SUBSCRIBER.

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Signor Rossini's Moise is to be revived-It is said that Madame and M. Gueymard are about to leave the French for the Italian stage: a proceeding hazardous, to say the least of it. Setting aside the difficulties of a new language, neither lady nor gentleman has any delicacy or variety of vocal style; and the latter has worn his voice by misuse. It need surprise no one should they turn up in London. Meanwhile, the new tenor singer, who is always to do wonders for the Grand Opéra, and rarely, if ever, does them, has again turned up this time as one of the Orpheonistes of Avighon. The voice, serviceable, if not in indispensable at the Opera Comique, which theatre. cannot be described as in a healthy state, being obviously in want of a prima donna. Adroit, well-prepared young ladies are habitually supplied to it by the Conservatoire; but it is not one among ten who can interest or retain her public; while the new composers appear to have lost fancy, for the talent for success, M. Félicien David, perhaps excepted,-whose Lalla Rookh pleases more than the journalists, when the opera was produced, predicted. Great attention has been bestowed on the revival of Grétry's Zemire et Azor, now some ninety years old. What's in a date? Some of the composer's ideas have as fresh an aspect of youth as Ninon de l'Enclos, the apocryphal, preserved to her ninetieth year. In everything like situation, the pertinence of sound to sense and stage effect is excellent compare, for instance, the scene where Zemire resolves on sacrificing herself for her father with the most forcible passage in Spohr's opera on the same subject." Marmontel, however, got a very short distance beyond paleness and prettiness in his opera-books; and Grétry, though graceful and sincere, was, as a musical inventor, merely slim (if the conceit may be permitted) in his forms and delicate in his colours. Zémire et Azor, then, will probably continue to please for a while, though but gently and soberly. The heroine, Malle. Baretti, is not without elegance of look and action; she has a fair soprano voice, the success of which is impaired by the too fashionable modern vice of vibration, and by that habit of gliding from interval to interval which makes a sigh perilously resemble a yawn. The Beast Prince (M. Warot), the afflicted parent (M. Troy, who has improved),the droll servant Ali (M. Ponchard), are, in their several ways, satisfactory. Another revival has been attended with greater interest that of Boieldieu's Dame Blanche. Perhaps no French opera has kept its success so long as this; it is now closely† approaching its thousandth representation. Everywhere, too, in Germany the work has been for a quarter of a century past a favourite. Some of the favour,' no doubt, may be ascribed to the passion of fashion which the Waverley Novels were beginning to excite on the Continent when it was composed. Some may belong to the snatches of Scotch melody* combined and treated in it by Boieldieu without getting at local colour; but, beyond these attractions, the solid portion of the music has, unquestionably, satisfied our neighbours. The English have been obstinate in never liking the opera, while they are willing to receive the far poorer Marthe of M. Flotow. For such aversions and preferences who shall give a reason? To our ears, the brilliancy and youth of many parts of La Dame Blanche,nay, too, and their force (a quality not common with Boieldieu) have come like a surprise on the late occasion of hearing it; but, then, wîthm our experience, the opera has never been so well performed as now. The prin cipal parts are sustained, with true French spirit, by Malles. Cico, Belia, Révilly, f MM. Léon Achard (the new tenor), Berthelier (who, besides being excellently farcical as an actor, in the accomplishment of audible and rapid pronunciation equals the best Italian buffo of the old school), and Barielle. The well-known auction finale to the second act could be done with such perfection of animation 7 and point on no other stage. The good looks of Malle. Cico are much in her favour. That her voice, a soprano, has been trained, is evident and one or two of her cadenzas belong to the good school of singing. She may, possibly, develope into an artist fit for the Grand Opera; but in her present occupation something of charm is wanting.-M. Léon Achard must be spoken of in another key. Some years ago, when he made his appearance at the Théâtre Lyrique in Le Billet de Marguerite, by M. Gevaert, with Mdlle. Lauters (now Madame Gueymard), he was a very young man, with a slight figure and a slight voice, neither of them unpleasing. Figure and voice have both filled up. Should his appearance in Boieldieu's opera afford a fair sample of his powers (as we are inclined to believe) he is the best tenor singer who has been heard at the Opera Comique during the past quarter of a century. His voice is clear; even, perfectly in tune; sufficiently forcible ; extensive in compass, taking into account the falsetto, which mounts to E in alt, a supplement which he knows this place states that the enclosed is how to combine with his natural notes without a break,-in this unlike M.!

Fawcett Terrace Hessle Road Hull, Nov. 25.[The style and orthography of this letter haver induced us to publish it as a literary curiosity.ED.] ; ! Und ovuda siit pro j, medi videior *** THE ENGLISH OPERA ASS sory cena odd ASSOCIATION, Sir-In your number of the 15th instant, I observe a letter signed by Mr. Thomas H. Baylis, in which that gentleman states that he was the originator and promoter of this, association. In the original prospectus, however, I do not find Mr. Baylis name in either of those capacities, nor do I even find him among the provisional committee. How is this? Can any of your numerous readers throw any light on the subject?—Yours obdtly, of barse d'AdSHAREHOLDER..01

PRIZE FOR STRINGED QUARTETS Mouf got bonub Sir, I have been informed by a gentleman, of whom I was seeking the information whether there is any union or club in London or else where that bestows a prize for stringed quartets (open to all comers or otherwise) that you, the editor of the Musical World, would most likely give me the information. If you could tell me, together with the necessary conditions, and any other account you might think proper, I should feel exceedingly obligated.Yours very respectfully, ba ALEX. T. TEETJEN.

association.

P.S.-Mr. Prout gained a prize with his quartet (stringed) at the Crystal Palace some time ago, but I do not understand from what [We know of no such benevolent and music-loving association.ED.] errod quose tus aripe "bas piet c2ON'T

MADAME GUERRABELLA.¶ Sir,-A slight error occurs in your last Saturday's issue in the reply to "Tietien's Apollo," relative to Mme. Guerrabella You were correct as to her being in New York, but not unemployed," inasmuch as she went out under contract to Mr. Ulman, and was to have appeared on the 10th instant. Trusting you will excuse my maintaining your usual correctness, I am, dear sir, yours, &c, link on yd usbuolo) A READER. Nov. 19.

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A QUESTION.

"A

Sir,-A professor of stake, and another professor maintains that Montaubry. It is a voice which speaks to the moment, and tells in all con

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dented, music without strain, art, mot chance, without frivolity, is to be heard
which, as the poet says, "comes of chance," to
in his execution. The new tenor's roulades are honest; the closes of his phrases.
are large, without that caricatured expression which we owe to modern Italy,
and have come absolutely to hate. In short, M. Léon Achard seems, as a
singer well to merit the real success he has met in the hands of the whole
audience, as distinguished from the squadron of claqueurs, whose noisy, wooden
plaudits are as distasteful to every righteous ear as is the shout on the penul-
timate pause so dear to the votaries and interpreters of Signor Verdi's music.

Robin Adair" is an Irish not a Scotch melody.

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