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on account of the subsequent crotchet rest in bar 8, still produce the effect of a double rhythm.

That the correct rendering of the syncopated notes is everywhere, but especially in Beethoven, a principal requisite of expression, should be considered so universally known as to render it superfluous for us to direct particular attention to it. Unfortunately, however, such is not the case, for we have often observed that various individual performers belonging to otherwise very good bands in different towns err in this respect.

The stringed and the wind instruments can certainly syncopate audibly and inaudibly, but the latter is the rule, and the former the exception, and, as such, is particularly marked by the composer when the syncopated note is to be played with more than ordinary emphasis. And instances of both these cases is afforded by bars 9—14 of the violins in the second part of the first movement of the Eroica (page 20) :—


Here the sf marks the stress upon the syncopated notes e flat and e, while the preceding syncopations must sound exactly like & ', and not like * And this mode of execution, combining the

two notes in one sustained tone, is, as we have said, the regular mode, always to be employed where there is not an especial sign, sf, or > for the second note, or '—j for both.

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We do not -wish to draw up a register of crimes, or to numerate all those passages whose melodic or rhythmical expression is destroyed, m Beethoven's Symphonies, by the careless execution of the syncopes. We will only put our readers on their guard against spoiling the effect of certain ones in the Eroica, for instance, Part I, page 14, in the bassoon, the clarionet, and especially the flute :—

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where the mark is really quite plain enough in all the parts (In Simrock's Score, in the first violin part, theme page 20, bar 8, the quaver g is marked with the 6ign of staccato by mistake).

Page 32, in the bassoons, clarionets, and flutts (for the last, correct in the parts, but incorrectly marked in the full score with two staccato points).

Page 49, in the horn solo in F, where in the fifth bar of it the syncopated c must not be played staccato, because, if so played, the effect of the c pizzicato in the basses, which ought to contrast with the sustained tone of the horn, will be lost. The same in the case immediately afterwards with the clarinet, etc., etc.

To conclude this subject, we only refer, in addition, to the solos of the oboe, clarinet, and horn in the scherzo (" Lustiges Zusammensein") of the Pastoral Symphony, in which everything is spoilt, unless the syncopated notes are correctly played. No composer can mark his intention more precisely than Beethoven has

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on the repetition of the passage, the syncopation being left out in the score (though not in the orchestral part), is modified. We are convinced that this passage in all the second parts should be phrased exactly in the same manner, on the repetition of the above solo-melody, by all the second parts, that is (page 102, bar 8), by the second oboe, second clarinet, and the second tenor, and that the above syncopation was forgotten or overlooked, accidentally, either by Beethoven himself, or by the copyists, or engravers, and readers. For a principal charm of this scherzo consists in the alternation of the softest ligato with the dotted staccato; but the ligato cannot be brought out smoothly in the second parts, if the second and third c's, instead of being syncopated, are played staccato.

In the eyes of many persons, these observations will be considered pedantic trivialities. We are of quite a different mode of thinking, and look upon the analysis jof the mode of performance, into the smallest details, both as a justification of the opinion that it is not necessary to introduce anything into Beethoven, but only to bring out what he intended. In this consists the difference between the classical execution of his pianoforte Sonatos and Concertos, and the mode of playing them adopted by virtuosos. Classical reproduction requires the abnegation of one's own nature, and, the manual skill being the same, he best comprehends Beethoven who endeavours to reproduce Beethoven's spirit, and not to impress his own individual mind, supposing he possesses any, on the composer.

With regard to the proper mode of playing the Crescendo and Decrescendo, and the contrast between forte and piano, we have already, in the first series of the Rheinische Musik-Zeilung, for 1850—51, Noa. 28, 80, 83, discussed these means of expression, which Beethoven employed much more frequently than his predecessors, and with very different graduated effects. We will, at present, treat of them only in a cursory manner, with especial reference to the Eroica.

The ordinary crescendo leading up to the" forte requires no explanation, but the contrary is the case with the two other kinds, the crescendo leading to the piano, and the crescendo leading to the decrescendo or diminuendo, lor they were both first rendered im portant means of expression by Beethoven.

A. Instances of the first kind are afforded by the first movement of the Eroica, page 2 :—

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Here the p in the first violin and bassoon is wrongly printed in the score, on the second crochet instead of upon the first. In the parts, this fault occurs only in the violin part; all the other parti are correct. Page 42, bars 1 and 2 cresc., bar 4 p. Page 49, bars 6 and 7 cresc, bar 8 p. Page 68, bar 9, and, page 69, bars 1 and 2. Page 73, the first three bars cresc, the fourth bar p.—a very remarkable instance, because, in conformity with other similar cases, we expect the cresc. to increase another bar, up to the entrance, piano, of the horn.

In playing all these passages, the principal thing requisite is to allow the crescendo to go on increasing up to the last moment previous to the piano, and theu to play the p softly, which is not always easy, since the performer is frequently seduced, by the sight of the p in the following bar, into weakening the crescendo, or actually playing diminuendo. It is even still worse, however, when the p is strongly given as the finish to the crescendo.

B. Instances of the second kind — the crescendo leading to a diminuendo—are:—

Page 1, the last four bars, namely, three crescendo, and the fourth, diminuendo.—Similarly, page 11 and page 20, ban 4 and 5. Page 50, at the conclusion of the flute-solo:—

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(From the Report of the Jury.)

Having in view the copious account given of the history and construction of the pianoforte in the Report of the Jury on the Exhibition of 18fil, it will be superfluous to insert on the present occasion any remarks on the instrument generally. It is only necessary to record what has been done since that period, and to notice the present state in which we And the manufacture.

Although during the eleven years that have passed since the last Exhibition we have not to record the introduction of any very important novelty, yet a considerable general advance has taken place in the manufacture. The best class of instruments, in the hands of the Arbitrate makers, have improved both in quality of toue and in perfection of make; while the manufacture of instruments of a more humble description lias been more widely extended, and the possession of them brought within more general reach of the public, by the reduction of price, which always follows production on an increased scale. Thus, to illustrate both these changes, we may state that the first-rate concertgrands of Messrs. Bkoadwood, which in 1851 sold for 175 guineas, are now, by reason of improvements in their construction, increased in valne to 250 guineas, while small upright instruments may now be obtained in many quarters, of full compass, for less than twenty pounds each.

The compass of pianofortes generally has increased. In 1861, the usual compass of the grand was a little over six and a half octaves—C to G, or A, more than this being exceptional; while six octaves—F to F, or C—was considered a reasonable compass for smaller instruments' Now, first-class grands are made universally seven octaves—A to A; and scarcely a single instrument is constructed in which the bass does Dot extend down to C.

The stringing has somewhat increased in thickness, which, combined with the increase of compass, and the continued unreasonable rise in pitch of the opera and concert bands (which concert pianofortes have been obliged to follow), has much increased the tension on the framing. In 1851, the aggregate tension on a full-sized grand was about eleven or twelve tons, now it is above sixteen tons.* Of course extra strength in the framing has become necessary to meet this increased strain.

The action remains pretty much as it was. The rage for "repetition" mechanism, a contrivance originally introduced only to meet an almost exceptional refinement of first-class playing, has now calmed down, or at least has been transferred to a lower grade in the manufacturing scale. The chief houses have reduced the mechanism for this purpose to the simplest possible addition to the ordinary action; it is only the inferior makers who now rack their brains to produce complicated and costly contrivances for this purpose, to be applied in cases where they can never be of the slightest utility.

In making the awards for pianofortes, the Jury have felt a difficulty arise from the Medals being all of the same value, which compels them to award apparently the sum; degree of honour to any merit shown by a small maker that they would to the most successful performance of the first manufacturers in Europe. The rules established by the Commissioners do not warrant any special awards being given; but the Jury consider they will not be exceeding their powers in placing certain makers at the head of their list, with notices more full and special than those which follow. The makers which the Jury wish thus to dis tinguish


France . Zollvereln

Austria United Btatts

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Messrs. Broadwood and Sons (United Kingdom, 3372) stand, without controversy, at the head of the pianoforte-makers who exhibit on the present occasion. The Jury award them a Medal for excellence in every kind of piano, power and quality of tone, precision of mechanism, and solidity.

They exhibit four grand concert instruments, exemplifying their latest improvements, and constituting the most perfect specimens of their manufacture.

The most important improvement refers to the arrangement and construction of the metallic braces used to strengthen the general framing of the instrument, and to enable it to resist the enormous tension of the strings; for it will be recollected by those conversant with the history of the pianoforte, that, as the demands for increased power led to the adoption gradually of thicker wire, the increased tension rendered some additional sustaining power necessary to aid the woodwork of the frame, and tliis was supplied by a system of iron bracing, placed above the strings, Down to about the year 1851 this bracing consisted of several bars placed parallel with the strings, abutting at the front end upon the wrest plank, and at the back end on the metallic string plate. The number of these bars, however, required for large and powerful instruments, introduced considerable evils into the manufacture, to remedy whichvMessrs. Broadwood introduced a new system, much more simple, and tree from the objections to the multiple bars. The iron string plate at the back, and an iron sweep bar attached to the wrest plank in front, are connected together by a bar at the extreme right, and another at the extreme left of the instrument, so as to form a complete iron framing; the number of intermediate bars being reduced to one placed parallel to the strings in the middle of the instrument, and one extending obliquely from the bass end of the wrest plank to the junction of the string-plate and intermediate bar. The wrest plank is strengthened with iron plates, and the whole forms a highly stable, mechanical, and effective system of resistance, which has enabled strings to be used of great thickness and powerful tone, without any undue strain to the framing.

A pianoforte on this principle was exhibited in 1851; but the plan

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was new, and required further trial; the resnlt of the eleven years' experience gained since that time has justified its advantages, as the makers state that two grands, finished by them in 1852, are still, after much hard wear, among the most approved concert instruments of the present season.

Messrs. Broadwood have also patented, in the present year, an iron cover plate to the wrest plank, into which the tuning pins are accurately screwed. This iron plate forms an integral part of the general framing, and contributes much to the stability, as it elimnates any inconvenience which might arise from the crushing of the wooden fibres of the wrest plank under the heavy strain.

The Jury cannot Bpeak too highly of Messrs. Broadwood's instruments, either in quality of tone or in perfection of manufacture. The iron work especially deserves commendation, not only for the mechanical excellence of its design, but the accuracy and finish of its workmanship. The instruments are altogether such as well sustain the mechanical pre-eminence of our own country.

In addition to their finished pianos, Messrs. Broadwood exhibit a great number of separate parts of pianos, with copious descriptions and elaborate diagrams, calculated to explain, to any one interested in such matters, the entire construction of their instruments in the fullest detail; an instance of liberality for which the Jury think they are deserving of special commendation.

MONDAY POPULAR CONCERTS. Last Monday the 110th concert took place; and, though this was the eighth of the so-called "Autumn Series" (already three more than have hitherto on any occasion been held before Christmas), the hall was thronged by one of those dense crowds which it is so frequently the privilege of the Monday Popular Concerts to attract. The programme, besides being intrinsically good, comprised three important and interesting novelties, as well as the famous Ottetto of Mendelssohn —repeated in consequence of its enthusiastic reception at one of the early performances of the present season. That there was a rich feast of genuine music a glance will suffice to explain to the satisfaction of every amateur:—


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The quartet of Heir Molique—one of a set of three, Op. 42— though not unknown to the patrons of the Musical Union and the unhappily defunct Quartet Association, was new to the "dilettanti" of St. James's Hall. Its success was so unequivocal that Mr. Arthur Chappell will have no choice but to produce, at reasonable intervals, other works from the same pen. The truth is that Hcrr Molique, though living and resident among us (an obstacle, of course, to the prompt and unanimous recognition of his merits), is, in the fullest acceptation of the term, a master; and though some passages of his quartet remind us strongly of Mendelssohn (the trio of the minuetto, for instance), and others (the andante especially) still more strongly of Spohr, viewed as a whole it would reflect no discredit on either of those distinguished men. This is almost unqualified praise, and coupled with an acknowledgment of the admirable musicianship, the refined taste, the fluency, and ready invention, that mark the composition from one end to the other of each successive movement, may explain how far apart we are disposed to rank Herr Molique ;froni nineteen out of twenty of those who aim at the highest honors in the present day. The execution—by MM. Joachim, Ries, H. Webb, and Piatti—was quite irreproachable. Had the quartet been signed "Mozart," or "Beethoven," Herr Joachim could not have bestowed more pains, could not have rendered every note of it more conscientiously. The same must be said of his companions, all of whom played "eon amore." The audience—an audience so pampered with chef-d'ocuvres as to be very difficult to please—were evidently more than pleased, and accepted Herr Molique without a dissentient voice. The Variationt Sinenses of Mendelssohn—introduced to the English public nearly twenty years ago by Mr. Stemdale Bennett, and not unknown to the amateurs who used to attend the toirict of Miss Arabella Goddard—were also new to the Monday Popular Concerts; and Herr Pauer was in all probability the first who ever attempted them in the presence of an audience of such vast numerical porportions. "Serious" these variations are, and no mistake sixteen out of seventeen of them, to say nothing of the theme being in the minor key;


but the Monday visitors to St. James's Hall— thorough eclectics—are ready to appreciate sterling music in any and every shape; while Herr Pauer, himself an "ccclectic" in the truest sense, played them with such spirit and intelligence that the meaning of the composer, recondite in more than one passage, was clearly and emphatically revealed. To the tame excellent and widely sympathizing professor we were indebted for Robert Schumann's quintet in E flat (Op. 44) for pianoforte and stringed instruments, with which the concert terminated. Not satisfied with introducing this quintet, and with undertaking the pianoforte part himself (in conjunction with the quartet players named above), Hen Pauer offers an elaborate apology for Schumann in the programme. "The English," he informs us, "have adopted Mendelssohn, but in Germany an equal rank is accorded to Schumann. It may arise from affection for Mendelssohn that the English deny Schumann's claims, fearing that the recognition of them may interfere with the justly deserved reputation of their favorite; but, be this as it may, a comparison should not be instituted between them." After which Herr Pauer immediately proceeds to institute a comparison (the first, we believe, that ever tea* instituted), and in that comparison satisfactorily shows why Schumann does not and cannot attain the same popularity as Mendelssohn. Among other things he tells us that "Schumann, apart from his not having the natural gifts of Mendelssohn, was unable by the use of his talents or his manners to make himself popular;" that "if he did not treat popular opinion with contempt, he would not consult it;" that "he never had the means of forming for himself a clear idea of what was due to the public," Sic, winding up with an aphorism, which will hardly cause the mouths of amateurs, not hitherto deeply versed in Schumann's music, to "water:"—

"That which sounds right and interesting in a small study, with a sympathizing friend to turn over the leaves, may sound dreary, uninteresting, and even tiresome to an iudiuerent audience."

Now, all audiences are primi facie "indifferent," until they are made acquainted with the merits of a work; and what "may sound dreary, uninteresting, and tiresome," will be untcmpting under any circumstances. Happily, Herr Pauer is a more able (if not more zealous) champion with his fingers than with his pen; and the best means he can employ to render Schumann's music popular is not to write about it but to play it.

The feature of the concert was the magnificent Otletto of Mendelssohn, performed by Herr Joachim and his coadjutors (MM. Hies, Carrodus, Watson, H. Webb, Hann, Paque, and Piatti), with a vigor and brilliancy not to be surpassed. Each movement showed how thoroughly the work had been prepared. The most delicate points had been studied with such uniform carefulness that the nicest shades of contrast were preserved, every tint in the gorgeously varied "tonepicture" being as sharply and as well defined as the masses of orchestral colouring were imposingly and conspicuously prominent. The entire work was listened to with eager attention, and applauded with enthusiasm. The performance of the Otteito this season has been one of the genuine triumphs of the Monday Popular Concerts. As the termination of Herr Joachim's engagement approaches the public appear to regard him with more and more enthusiasm; and indeed, his playing has reached a degree of perfection for which we are wholly at a loss to seek for a precedent. No matter what the music upon which he is engaged he shines without a peer, incomparably the first artist of his day. On Monday, for example, with Beethoven's graceful and unpretending Romance, he as completely entranced and captivated his audience as with those prodigious displays of executive skill that have enabled him to give to the solo fugues and preludes of Sebastian Bach a vitality and a hold upon the popular sympathy of which the composer himself when he wrote them (considerably more than a century ago) could never have dreamed. Herr Joachim was recalled with acclamation, at the end of the Romance, and, when he had modestly bowed and retired, was as rapturously summoned back again. The audience, delighted beyond measure, would on no account forego the pleasure of listening once more to a performance so replete wit h charm, and the performer had no chance but to accede.

Miss Banks was happy in both her songs, and sang both charmingly. That of Ulinka (the Russian Schubert, rather than the "Russian Mozart") is becoming as great a favorite as any opera ballad, while in calibre superior to 9i» out of 100; that from the Lily of Killarney is one of the most genuine bits of sentiment in an opera full of sentiment. Mr. Santley, too, was well provided. In the romance of Signor Piatti (the composer himself taking the violoncello obbligato) he was as successful as on the occasion of its first introduction, and in that of Mr. Macfarren—a genial setting of one of the most poetical passages in Sir Walter Scott's Rokeby—he exhibited those powers of expression to which, quite as much as to his fine voice and musical acquirement, he is indebted for the high position he enjoys. Mr. Benedict—whom every frequenter of these conceits is delighted to welcome back again

resumed his post as accompanist, and played the pianoforte part it Beethoven's Romance to perfection.

This evening the director advertises an extra performance in aid of the Lancashire Relief Fund, at which all the artists will pUT ad sing gratuitously. The last Monday Popular Concert of the "} Series," and the last appearance of Herr Joachim (until the: of 1863), is announced for Monday.


This great institution—the first of its class in the world—having commenced operations, the London winter musical season may be said to have virtually set in. A more brilliant performance than that which took place on Friday night (the 21st inst.) in Exeter-hall under the direction of Mr. Costa could not possibly have "inaugurated" a new series of concerts. There was a densely crowded audience, whose eager love of music—or at least of sacred music—triumphed over all the personal inconveniences attached to a few hours' sojourn in this least comfortable, though not least spacious of our public assembly rooms. Never was an entertainment of the sort more keenly relished.

The programme was certainly one of uncommon interest, comprising three masterpieces from different pens, which resemble each other via nothing whatever beyond their abstract musical excellence, These were Haydn's first and best Mass, in B flat—through a mistaken sense of propriety still denominated in the programmes " Service "—Mendelssohn's "Lauda Sion" wedded to the English version of Mr. Bartholomew, but which might be sung to the Latin text with u little danger as Mozart's " Requiem," or Rossini's " Stabat Mater (aid to the evident advantage of the composer, whose music would that be provided with its proper medium of expression ); and Beethoven's only oratorio, Chrutut am Oelberge—again to an English version, from the pen of Mr. Bartholomew (a decided improvement on the now judiciously abandoned Engedi, in which the entire meaning of the composition was perverted). None of these works were unknown to the patrons ot the Sacred Harmonic Society; but the idea of combining them in a single evening's programme was both new and happy. The Mass in B flat is conceived in that happy vein peculiar to the master, whose musical illustrations of the Catholic ceremonial are far the greater part as vigorous, consoling, and distinct from "the lugubrious" as even his quartets and symphonies. Haydn could not easily be grave, much less desponding; and thus his cheerful and confiding nature— as genial in its devotional aspirations as it was sincere in its artistic faith, impressed itself no less vividly upon his contributions to the Church than upon those intended for the chamber or the orchestra. A more agreeable and effective contrast to the mass could hardly have been found than in the "Lauda Sion" of Mendelssohncomposed for the festival of Corpus Christi, and first performed at the Eglise de St. Martin, Liege, just three months before the production of Elijah in England (at the Birmingham Festival of 1846). Of this fresh, melodious, and spontaneous hymn we have frequently spoken at length. It is winning its way into universal popularity more slowly, but not less surely, than other works from the same hand, which, if of a character more grand and imposing, are by no means mew instinct with original genius. Indeed, no composition morelivingly reveals the clear intellect, well stored mind, and earnest spirit of Mendelssohn than this comparatively unambitious "Lauda Sion, which from one end to the other is a model of graceful beauty. of the Mount of Olives what can be said or written that has not been said or written over and over again? Composed in 1800, before Beethoven had wholly freed himself from the absorbing influence d his greatest immediate predecessors, it offers repeated instances of that influence—at a later period so resolutely shaken off. In the first duet (for soprano and tenor) there are even occasional glimpses of the (by Beethoven) not too highly prized Creation in the first trio (for soprano tenor, and bass) the spirit of Mozart is everywhere apparent—Moarli it is true, "Beethovenized," as in the first and second symphonies, and some of the early quartet and pianoforte sonatas, but Moort tot all that; while in the last chorus (" Hallelujah ") we have plainly J reference to Handel. Perhaps only in the opening introduction, recitative, and air (for tenor), and the wonderfully dramatic chorus, with solo (tenor), where the angry menaces of Christ's pursuers are mingled with the supplications of His disciples, is the independent genius of Beethoven emphatically proclaimed. That the oratorio, notwithstanding its unsettled style, is a chef d'eeuvre, is nevertheless unanimously admitted.

The interest created by such a programme as we have briefly described will be easily understood by musical readers. Happily, too, the execution was, with rare exceptions, first-rate. The Handel Festival preliminary practices have done a world of good. In force and vigour the chorus of the Sacred Harmonic Society has for many years been preeminent; but precision and delicacy such as are now exhibited being less readily attained by so large a body of singers, were much tw frequently missed. On Monday night, however—in the final chorus of Mendelssohn's " Lauda Sion," for example—we had reason to note the vast improvement in this essential particular, and to wish success to the "Triennial Handel Festival," if on that account alone. Most of the choruses, indeed, were admirably given, not only in Mendelssohn's work, but in the Mass of Haydn and the oratorio of Beethoven. Here and there an objection might have been raised; but to signalize the points would be fairly hypercritical. The band was as strong and efficient as ever, the short instrumental prelude to the Mount of Olivet being one of the most complete and irreproachable performances of the evening.

The solo vocalists—Mesdamei Rudersdorff and Laura Baxter, Messrs. Wilbye Cooper and Lewis Thomas, all practised artists—did excellent service in every one of the three pieces Madame Rudersdorff, besides singing extremely well in the soprano solos of the " Lauda Sion," sang better than we ever heard her sing till now in the more trying music of the Mount of Olivet, creating a marked impression in the air (with chorus) " Prize your Redeemer's goodness," which was loudly and deservedly applauded. Mr. Wilbye Cooper delivered the arduous recitative and air at the opening of the same oratorio with equal spirit and intelligence: and the less arduous tasks assigned to Madame Laura Baxter and Mr. Thomas in the course of the evening (there is no contralto part in the Mount of Olives) were accomplished with thorough efficiency. This programme, as one of the most successfully combined among the miscellaneous selections occasionally in request, deserves to be repeated. That it pleased every one present is indisputable.


Love's Triumph is advertised to be played three times a week, and its success hitherto has increased in some respects at each fresh representation. This success will last all the longer now that Miss Louisa Pyne has determined not to fatigue her beautiful and proportionately delicate voice by singing regularly every night. Four representations, with two entirely different characters to sustain in each, are certainly enough for Miss Pyne in one week.

The two characters allotted to our celebrated soprano in Love't Trinmph have not, by-the-way, made the impression on the public that must have been intended by the author. Every one renders justice to Mr. Planche" as regards the execution of the libretto in a mere literary point of view. It is in the conception that he has failed, or rather he has misconceived what the French author, whose story he has borrowed, had conceived clearly enough. This comes of wishing to be original at the wrong time and in a wrong manner. In MM. Melesvillc and Laya's comedy of Le Portrait Vivant, a young lady and a young lady's portrait play prominent parts, and every one understands that the portrait and the young lady are quite distinct. In Mr. Planche's adaptation of the said comedy, a young lady and another young lady are so much alike that no one can tell one from the other. They have the same features, the same voice, and, being represented by Miss Louisa Pyne, sing in a style quite peculiar to themselves, and unapproachable on the part of other young ladies. We do not say that, with an immense deal of attention, it is still impossible to understand Mr. Planche's plot; but we do say that, on the whole, it is a very mystifying concoction, and that the third act is a puzzle which it takes a great deal of trouble to find out. The Burgomaster's daughter comes in and goes out. The Princess does the same and comes in. Then the Princess goes out and comes in, and the Burgomaster's daughter does the same, until the good people who are reading Mr. Planche's libretto, instead of listening to Mr. Wallace's music, do not know what to make of the affair, and while they are endeavouring to solve the mystery lose some of the best pieces in the opera. It has been suggested by an intelligent contemporary that the part of Theresa (the Burgomaster's daughter) might as well be cut out, saving as much of the music as it may please Miss Pyne to retain, and transferring it to the part of the Princess. Somehow or other, the duality of Miss Pyne ought certainly to be done away with.

The manner in which Mr. Wallace's opera is performed and put upon the stage reflects the highest credit on all concerned. Of Miss Louisa PyneVs admirable singing we have already spoken, and we believe we have mentioned, what in any case we may here repeat— that Mr. Harrison gains great applause both as a vocalist and as an actor by his effective assumption of a naturally very slight part, to which he contrives to impart considerable importance. Miss Laura Baxter continues to be encoded in the tinsel-like operatic "gem" given to the page—a gem which will, nevertheless, be set in all sorts of keys, for all sorts of instruments and voices. Mr. Weiss gives out the bass music with becoming effect; and Mr. Corri as the Dutch burgomaster sings vigorously, and moves about the stage with an agility which shows that—other requisites being forthcoming—he would be well suited to play the part of the hero in Herr Wagner's Der Fliegender Ileiktndcr. The scenery, costumes, and other accessories are got op In

a very superior style of taste, elegance, and appropriateness; and some of the tableaux are exceedingly effective. The last scene in the second act, where the bewildered burgomaster, Groot, sees in the princess what he believes to be his own daughter, is especially striking, and is the one portrayed in the Illustration on page 46'J.

Mr. Wallace's new opera will doubtless have a long run. But ope"i<t are not played 1060 times in fifteen years like the Green Bushes, or £00 times in one single year like Peep o' Day; and it is said that I ng before the success of Love't Triumph has been exhausted the compos^will be ready with another work, while Mr. Balfe has one actually finished.—Barlagriggia.


The Leeds Intelligencer (date Nov. 29) informs us that a performance of The Messiah in aid of the Lancashire operatives was

given on Saturday evening under the auspices of the Leeds Town all Concert Society, the proceeds being devoted for the benefit of the operatives in the cotton districts. The room was filled in every part. With a spirit worthy of the occasion Miss Banks, Miss Helena Walker, Mrs. Lockey, Mr. Wilbye Cooper, and Mr. Winn had volunteered their services as principal1!, and there was a full band and chorus, numbering in all 250 performers, Dr. Spark officiating as conductor, Mr. C. E. Willing, organist at the Foundling Hospital, dsc, London, at the organ. The choruses were given with effect, and "For unto us a child is born," the "Hallelujah," and the grand final chorus " Worthy is the Lamb," were well rendered. Miss Banks sung the pieces allotted to her with sweetness, and in the air, "I know that my Redeemer liveth," narrowly escaped an encore. Miss Helena Walker and Mrs. Lockey acquitted themselves remarkably well, the former singing the recitative, "There were shepherds," and the latter, " He shall feed his flock," with all the pathos and touching sweetness that could be desired. Mr. Winn sang the bass Bongs in good style; and Mr. Wilbye Cooper as solo tenor, was loudly applauded, especially in the recitative, " Comfort ye, comfort ye, my people," and the air, "Thou didst not leave," both of which were well sung. The band was under the leadership of Mr. Haddock. We understand that the receipts amounted to nearly £100.

The Kentish Independent informs us that on Tuesday evening a concert was given at the School Room, Rectory Place Chapel, Woolwich, by the ladies and gentlemen who meet to practice vocal music, under the superintendance of Madame Ernestine Smythe. The audience consisted of the most influential inhabitants of the town. The proceeds were to be sent to Burnley, in Lancashire. The choruses and anthems were executed with effect and precision, and the selection from Mozart's 12th Service was creditable to all employed. The solos were, two by Madame Smythe, "O rest in the Lord," from Elijah, and the "Morning prayer" from Eli. The latter gained B vehement encore, a compliment justly due to the admirable taste and finished style of the singer. Mr. Mansfield also sang a tenor air from Elijah, giving promise of becoming an accomplished vocalist. The whole proceedings were directed and conducted by Mr. James Smythe, the talented band master of the Royal Artillery, with great energy, affording an evening of pure enjoyment, coupled with the satisfaction, to both performers and audience, that they were helping a holy, charitable work. After the conclusion, a vote of thanks was moved by Mr. Richardson, and carried by acclamation, to Mr. Smythe, and his lady, for their earnest services, grauitously rendered. The proceeds amounted to above £16.

M. Soddo, who, with all his merits, is often curiously pedantic, makes the following remarks in his article on Auber, and on himself: "If it suited us to reply to opponents of no authority, we could easily prove to them that no artist of merit ever found us insensible to his efforts, and that no one feels enthusiasm more readily than ourselves for things and men worthy of admiration." Of course M. Scudo does not feel enthusiasm for what appears to him unworthy of admiration. In short, he admires what he does admire, and all persons who admire what he does not admire are "opponents of no authority."—Barbagrigyia.

Naples.—The San Carlo was re-opened at length on Tuesday last with Norma, and the same grand opera was given again on Thursday. Steffanoni, the prima donna, was applauded to the echo. The tenor was a Sicilian, Signor Sirchia, almost a debutant, for I believe he has not sung elsewhere than in Turin. His voice is beautiful, though it requires cultivation, and the story which is going about throws an additional interest around him. Formerly an attorney-general in some district in Sicily, he refused to execute some orders of the notorious Mario calchi, and emigrated. After thirty months' study he has appeared on the stage, and the Neapolitans are warm in their admiration of him. Sirchia is engaged for the season. The storm in San Carlo is therefore abated, and the Neapolitans are gloating over the boceone (tit-bit) which has been given them, apparently forgetful of their resolution to drive out the Sopraintendente.

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