well adapted as to Mr. Weiss, but none can enter so fully into the feeling of the part or better realise its sublimity and pathos. The tenderness and devout spirit of resignation infused by Mr. Weiss into the air, It is enough, O Lord,' were especially worthy of notice. Mr. Sims Reeves with his matchless voice and impassioned delivery realised in their full significance the mingled elevation and sweetness of the two airs, 'If with all your hearts,' and 'Then shall the righteous,' and never gave them with finer effect. The execution of the latter air was distinguished by a power and brilliancy of voice that almost blinded one to the earnest, yearning, hopeful spirit in which the prediction was uttered, and the applause which followed took, though in vain, the form of an encore. Miss Palmer, in the contralto music, acquitted herself with judgment, spirit, and vocal power. Probably her most successful effort was the air, Woe unto him,' though O rest in the Lord' proved more effective with the general public, and availed her the tender of an encore which, notwithstanding the noble President's endorsement of the popular verdict, she resolutely declined.

"Mad. Goldschmidt's qualifications for oratorio music generally, and the impassioned soprano music of Elijah in particular, are so well known that we feel little need be said to convey the effect of her performance. The dramatic fire which she infuses into every utterance has nothing of the conventional tragedy queen passion about it; indeed it is altogether opposed to the abandon and outward demonstration characteristic of ordinary dramatic impersonations, and manifests itself exclusively in a convincing and unaffected earnestness and concentration. Miss Susanna Cole exhibited a sweet and penetrating voice in the music of the youth who is sent to look for tokens of the expected rain. The unaccompanied trio, 'Lift thine eyes,' was sung so much to the satisfaction of the public by Mad. Goldschmidt, Miss Cole, and Miss Palmer, that it had to be repeated. Mr. Otto Goldschmidt conducted throughout with tact, self-possession, and spirit, and Mr. Stimpson was, as usual, irreproachable in the organ part."

The Brighton Examiner gives a glowing account of the performance of the Sisters Marchisio at Mr. F. Wright's concert, which took place at the Pavilion on Saturday. M. Vieuxtemps' violin playing was one of the conspicuous features of the entertainment. The Brighton Gazette is not less enthusiastic in its praises of the Sisters, and is even more original in its criticisms. The following will be read with peculiar satisfaction:

"They commenced with the duet from Norma, 'Deh con te,' in which Grisi and Alboni (Qy. when did Alboni play Adalgisa?) so much distinguished themselves in their carlier years. The sisters Marchisio rendered it even with greater nicety as far as light and shade were concerned. Their voices dovetailed and blended beautifully, in short it was the very perfection of duet singing. The modulations were perfect, and we should imagine that there are no other two sisters in the habitable globe that ever sang so sweetly and harmoniously together."

At Leeds the Sisters Marchisio appear to have been no less successful. The Leeds Times and Leeds Intelligencer both speak of them in the highest terms, on the occasion of their first appearance at the fourth of the Leeds Subscription Concerts. M. Vieuxtemps is also enthusiastically praised. The great Belgian violinist, indeed, seems to have created a marked sensation throughout the "Marchisio" tournée.

A correspondent writes from Manchester as follows:-
:-

What

|

"At the last of M. Halle's concerts in Free Trade Hall, the programme was more discursive, if not altogether less interesting than in the majority of instances. There was no symphony. Fi donc ! is the use of a well-trained orchestra? The overtures were Guillaume Tell and the Nozze di Figaro, by the Italian Mozart (in a dramatic sense) and (in a dramatic sense) the German Rossini. M. Hallé availing himself of a chorus which was this evening at his disposal, treated the audience to the Choral Fantasia of Beethoven, for piano, band and chorus, which was a treat in every respect. As a solo he gave the scherzo and rondo from Weber's romantic sonata in A flat. (If no more, why so much?' as King Arthur says to the ghost in Fielding's Tom Thumb. Why not, in short, the whole of the sonata?) The great feature of the concert was the magnificent Lorely, in which Mendelssohn has given us a dramatic finale equal to any extant. Miss Parepa sang the part of Leonora with extraordinary vigour. The chorus was also displayed in choral movements from Fra Diavolo, Iphigenia (Gluck), Idomeneo (solos by Miss Parepa), and Mendelssohn's O hills, O vales.' Moreover, Miss Parepa gave the laughing-song,' from Auber's Manon Lescaut, Arditi's 'Il Bacio' (both encored), and 'Non mi dir.' Last, not least, we had the chorus of Dervishes (a wonder!) and the Turkish March from Beethoven's Ruins of Athens."

C.

--

"The first of a series of quartet concerts took place at the Musical Academy of Mr. and Mrs. Robinson. To Mrs. Robinson and Mr. H. J. Loveday the merit of introducing, for the first time in Belfast, this high-class style of music is due, and from the attention and silence with which the immortal works were listened to, we have every reason to believe that a most successful future may be anticipated. It is the more creditable to the audience to have paid the best possible compliment of 'silence' to the quartets, &c., as, generally speaking, the public requires a certain amount of training to get accustomed to the various beauties of such works, which, when known, fully repay the attentive listener. The programme, which was well and judiciously selected, was composed as follows: Part I.-Quartet No. 78, in B flat (Haydn)— Messrs. Loveday, Levey, Wilkinson, and Elsner. Sonata - Pianoforte and Violin, Op. 23 (Beethoven)—Mrs. Robinson and Mr. H. J. Loveday. Saxophone Solo (Kucken). Quartet in D (Mozart). Part II.-Quartet (Weber) Pianoforte; Violin, Viola, and Violoncello Mrs. Robinson, Messrs. Levey, Wilkinson, and Elsner. Prelude and Fugue in A minor (Bach)—Mrs. Robinson. Saxophone Solo (Schubert). Quartet — No. 5, in A (Beethoven). Haydn's quartet is generally termed The Rising of the Sun,' from its bright and flowing opening, and brilliant crescendo -meant by the composer to give the idea of the great orb starting from the East and shining forth in his full splendour was executed with precision and brilliancy. The Sonata of Beethoven in F - one of the inost attractive of the immortal composer - was faultless in every respect, and must evidently have been studied by Mrs. Robinson and Mr. the passages were interpreted with neatness and precision, and, what is H. J. Loveday with the conscious conviction of its importance, as all even of greater moment, the lights and shades were carefully attended A distinguished amateur played Kucken's Maid of Judah,' on a new and very fine-toned instrument, and acquitted himself in this, as well as in a solo in the second part, with finished taste and judgment. Bach's prelude and fugue in A minor was given by Mrs. Robinson in a style worthy of the composition-more would be needless. quartet gave special satisfaction, and the concert concluded with Beethoven's in A, in which occurs the favourite air with variations. Messrs. Levey, Wilkinson, and Elsner were specially engaged from Dublin for A the occasion their services having been secured for the series. universal feeling of satisfaction prevailed amongst the audience, which will, doubtless, increase in numbers at each successive performance."

to.

Weber's

MUSICAL SOCIETY OF LONDON.-The present season could scarcely have been more brilliantly inaugurated than by the conversazione of Wednesday last, when the large room of St. James's Hall was densely thronged by the members of this most flourishing society, which no w numbers nearly 1,300 subscribers, embracing most of the celebrities of the profession. As these pleasant meetings occur twice in the year, at the commencement and close of each season, it requires no small amount of ingenuity to find attractive objects in sufficient quantity and variety to furnish forth the necessary artistic embellishment, and it reflects considerable credit upon Messrs. Salaman, Stockdale, and Dr. Rimbault that they succeed on each occasion in producing a novel and interesting collection, not only of the heterogeneous kind usually met with at gatherings of this sort, but of the description bearing more particularly upon the art which gives its title to the association. From the first secular music book printed in England (Thomas Whythorne's Songs, 1571), to the latest grand pianoforte by Broadwood, there was something_to interest visitors curious in musical matters M. Victor Schelcher, Dr. Rimbault, Mr. Charles Collard, M. Ole Bull, &c., being the principal contributors in this department. The orchestra, covered with crimson cloth and adorned with statues, whose whiteness was still more strongly thrown up by the surrounding shrubs, evergreens, and flowers; the organ partially concealed by heavily festooned curtains ; while the opposite end of the hall was similarly draped, displaying in the recess a group of the graces in verdant retreat, and only half revealed by a soft pale green light, oil and water colour pictures, choice proof engrav ings, busts of all the composers, photographs of nearly every musical professor of note, stereoscopes, microscopes, wood carving, suits of armour, silver plate by Messrs. Hunt and Roskell and Elkington and Co., autograph letters, bronzes, every variety of delicate perfume,

specimen of drawing-room telegraphs (though, by the way, what use a telegraph can be in a drawing room, where people are usually supposed to talk to each other, it is difficult to guess); all these, and a hundred other objects, which must be included under the comprehensive title of &c., &c., helped to entertain the eye, while the musical sense was not by any means left ungratified; several glees being contributed by Messrs. Foster, Cummings, Montem Smith and Winn, Mlles. Parepa and Florence Lancia, with Mr. Tennant, giving their services as solo vocalists, and Miss Emma Lewis (pupil of Mr. Charles Salaman) making her first appearance as pianist with Chopin's Scherzo in B flat minor, Messrs. Frank Mori and Salaman officiating alternately as accompanists. Altogether a very agreeable evening was spent by the members of the society.

COLOGNE.-The fifth Gesellschafts Concert excited more than ordinary interest, from the fact that Robert Schumann's "Music to Scenes from Faust," his most comprehensive and most important vocal work, was performed at it, in all its entirety, for the first time. Every place in the body of the hall (the Gürzenich) and in the gallery was full. The expectations of the public were more than realised, and the warmest thanks are due to everyone who took a part in the performance, beginning with the talented conductor, Herr Ferdinand Hiller. An immense number of musicians and musical amateurs came long distances on purpose to hear the performance. For instance, one gentleman, Herr Kirchner, accompanied by a couple of friends, came all the way from Winterthur, in Switzerland, where he is Musical Director. A great sensation was produced by the presence of Mad. Clara Schumann. On the 21st inst., this lady herself gave an exceedingly well attended soirée in the Hôtel Disch. Herr Stockhausen supported the fair bénéficiaire by his admirable singing of four songs: Harold," by Ferdinand Hiller;" "An die Leier" and "Aussanthalt," by Schubert, and " Sonntags am Rhein," by Schumann. In obedience to the unanimous desire of the audience, he repeated the last. Mad. Schumann played R. Schumann's Quintet, Ferdinand Hiller's Capriccio, Op. 81, two of Mendelssohn's Lieder ohne Worte, Beethoven's D minor Sonata, Op. 31, Sarabande and Gavotte (G minor), by J. S. Bach, and andante and presto by Don Scarlatti.On the same evening, Herr G. Koch gave his annual concert in the middle hall of the Gürzenich. This concert, also, was exceedingly well attended, the various airs and concerted pieces, by Mozart, Spohr, Beethoven, Stauptmann, Hiller, Rosini, Reissiger, Handel, Righini, and C. M. von Weber being warmly applauded. The executants were all pupils of

Herr Koch.

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THE VOICE AND SINGING

(THE FORMATION AND CULTIVATION OF THE VOICE FOR SINGING), By ADOLFO FERRARI.

WHE

HEN this book first appeared we foretold its success; our conviction being founded on the author's freedom from conventional trammels, the strong good sense of his opinions, the novelty and yet evident soundness of his precepts, and the conciseness and practical value of his examples and exercises, of which every note is dictated by a clear and definite purpose. The influence of Signor Ferrari's method of forming and cultivating the voice, as it is explained in this treatise, is enhanced by the efficacy of his personal lessons in his practice as one of the most eminent teachers of the day; and this work has consequently come into general use as a manual of vocal instruction, not only in the metropolis but throughout the kingdom.

In this new edition the author has made various important additions to the work, especially to the Exercises. Formerly they were confined to soprano or tenor voices; exercises for the one voice being also available for the other. But, for the contralto, or the barytone, provision was not made. This desideratum is now supplied, partly by means of entirely new exercises, partly by giving the old exercises likewise in transposed keys, and partly by adapting the soprano exercises also to the contralto or barytone, by the insertion of alternative passages in small notes. By these means the utility of the work is very greatly increased.

We have said that the remarkable qualities of this book are the author's freedom from conventional trammels, the strong sense of his opinions, and the novelty yet evident soundness of his precepts; and this we will show by quoting, unconnectedly, a few passages which cannot fail to strike every reader.

"Voices are too often ruined by giving pupils difficult songs, in order to gratify their vanity or that of their friends, before they have acquired the power of sustaining the voice, throughout its natural extent, with a firm and clear intonation. When it is recollected that it has taken years of application and study to enable professional singers to execute properly the songs we are accustomed to hear attempted by almost every young lady who is requested to sing in a drawing-room, the absurdity of the prevailing system becomes self-evident.

"I strenuously advise all who wish to sing not to defer the commencement of this study, as is generally the case, till the pupil arrives at the age of 17 or 18, by which time young ladies ought to be good singers, but to commence early, at about 13 or 14 years of age, and resisting the gratification of singing a number of songs for the amusement of their friends (the word may be taken in more senses than one), to devote sufficient time to what may be termed the drudgery of singing, so as to enable them to acquire the power of sustaining the voice, easily to themselves and agreeably to the air.

"Many young ladies now-a-days speak habitually in a feigned voice. Here lies the greatest difficulty in teaching, or practising singing; for should neither the pupil nor master know the real tone of the voice, the more earnestly they work together the sooner the voice deteriorates. In my experience I have found this difficulty most easily overcome by making the pupil read any sentence in a deep tone, as though in earnest conversation, beginning two or three notes below what they consider their lowest notes; but, as the lower and richer tones of the voice are generally objectionable to young singers, all of whom are ambitious to sing high, it requires much firmness and some coaxing on the part of the master to get the pupil to submit to this exercise. I cannot advise too strongly the greatest attention to the free and natural development of the lower tones of the voice it is to the stability of the voice what a deep foundation is to the building of a house.

:

"In conclusion, I must add a few words on a subject of great im portance to the pupil who makes singing a study. I mean the spirit in which instruction is received. Every emotion of the mind affects the voice immediately; therefore it is of the utmost importance that the pupil should receive the lesson with the mind entirely unpreoccupied by other matters, and in a perfect spirit of willing submission to the teacher's corrections, however frequent, and however unimportant they may appear; for it is simply by the constant correction of little nothings that beauty of intonation and elegance of singing are obtained."-Daily News.

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