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may find here and there a passage in which he ridicules some operatic absurdity; but, taking them on the whole, they show that he was an habitual operagoer, and that the opera was an entertainment in which he took great delight. Addison often had a laugh in the Spectator at the peculiarities of female costume in the early part of the eighteenth century; but it would be scarcely prudent to argue from this that he objected altogether to the manner in which the ladies of this time dressed themselves. Rinaldo, when first brought out (1711), was played fifteen nights in succession, and during the next twenty years was frequently revived. It was performed, not only in London, but also in Naples, Hamburg, and elsewhere; but up to the present time has certainly never been given in Paris. Our contemporary, who announces the production of Rinaldo at the Théâtre Lyrique, informs us that the most popular pieces in the opera used to be the cavatina, "Cara sposa," the march which was performed by the band of the Life Guards every day at parade for forty years, and subsequently used by Dr. Pepusch for the chorus of highwaymen, "Let us take to the road," in "The begger's opera;" the bravura, sung by the celebrated Nicolini, "I tre cerberi humillati," which was afterwards set to the English bacchanalian, Let the waiter bring clean glasses," and was sung for many years at almost every convivial meeting throughout the kingdom; "Hor la tromba," another air for Nicolini, with trumpet accompaniment; and the song of the syren, "Lascia ch'io piánga," the Siciliani so frequently heard at concerts. We should like to hear how the characters in Rinaldo are to be distributed at the Théâtre Lyrique. Probably the principal female part will be taken by Mdme. Viardot-Garcia, who has often sung Handel's music in London. In the meanwhile, what are we to understand from this retrospection in search of great composers? Certainly, not that we have too many great composers in the present day. With all Verdi's popularity, (the Barber of Seville and Don Giovanni were played each upwards of a dozen times last season at the Royal Italian Opera. As Mozart and Rossini cannot be played for ever, it was thought desirable a year or two ago to see what life there still might be in Glück. Probably it is the success of Orfeo that has suggested to the manager of the Théâtre Lyrique to go back some three-quarters of a century further and test the attractiveness of Rinaldo. Who would have thought a few years ago, when Herr Wagner was directing the concerts of our Philharmonic Society, that the operas of the future were those of Glück

and Handel?

66

What musician started the story-repeated, we believe, by Dr. Burney-that Addison did not like the Italian Opera, and that he attacked it in a mean spirit of jealousy, in consequence of the failure of his Rosamond? Musicians, we are afraid, form a "genus" as "irritable" as the poets themselves. Here, for instance, is a nice amiable rejoinder, said to have been made by Haydn to Beethoven, upon the latter remarking that his Septet was, "after all, not the Creation." That," said Haydn, "you never could have written, because you are an Atheist." This anecdote is told by the author of the highly-interesting "Programme and Analytical Remarks" for the Monday Popular Concert of the 17th inst., on what authority we know not, but doubtless sufficient. If Haydn, when he wished to put down Beethoven, did not hesitate to call him an Atheist, Beethoven, after asking Haydn his opinion on a new work, knew what sort of a motive to attribute it to if it happened not to be favourable. "The trios (Beethoven's earliest work) were first performed at a soirée in the house of Prince Lichnowski, to which the most noted artists and amateurs in Vienna had been invited. Haydn was present, and every one was anxious to hear his opinion. The great master said much in praise of the new works, but recommended Beethoven not to print the third. Beethoven, however, considered the trio in C minor much the best of the set, and from that time never regarded Haydn with the same cordiality, attributing his advice to simple envy." Beethoven was not atheistical, nor Haydn envious, only these two great composers had not a very high opinion of one another, and were not in the habit of pretending the contrary.

MANCHESTER.—The Land tour party (Mad. Arabella Goddard, M. Sainton, Sig. Bottesini, &c.) give a grand concert here this evening. SPORCHEZZO." A curious incident "Says our Western and facetious contemporary the Western Times- -" happened at the conclusion of Thalberg's recent pianoforte recital. A distinguished lady remarked to another equally distinguished, Dear me, I am quite disappointed with M. Thalberg, he looks so much like an Englishman! I expected to have seen a magnificent Italian, with black curly hair, and a fine flowing moustache and beard!' It is the old story; many of our accomplished musicians would receive larger recompense if they were not Englishman, and, perhaps, it is for this reason that many an artist is perforce compelled to adopt a non de plume, which he would not otherwise think of doing."-(PORCHERIA).

MAD. GOLDSCHMIDT LIND and Herr Otto Goldschmidt are, we understand, to give a series of concerts in London, and a farewell tour in the country, early next spring.

THE GRUNEISON TESTIMONIAL.-We are right glad to learn that a subscription has been set on foot for the purpose of presenting a testimonial to Mr. C. L. Gruneison, the zealous Secretary of the Conservative Land Society. Many of our readers will recollect that a few months back a very malignant, though happily a very futile attempt, was made to injure the character and impair the usefulness of the society, chiefly through the medium of an attack on its Secretary. The triumphant exposure of this ridiculous and abortive conspiracy redounded highly to the credit of the management, and naturally suggested the propriety of marking the occasion by a tribute of respect to its principal officer. Our Conservative politicians, who have had such a good reason to recognize the merits of the society as an element of political influence, will no doubt gladly avail themselves of this opportunity of testifying their regard for a man who has contributed so largely, not merely to the advance of Conservatism as a party organization, but to the promotion of a Conservative feeling in the country; for every estate which is allotted by this society becomes the nucleus of a sound political influence, which has an indirect power far beyond the mere number of votes added to the register. We understand, however, that the testimonial contemplated is not intended to represent merely the appreciation formed of Mr. Gruneison's activity in his official and political capacity, as a large portion of the musical and literary world have expressed their desire to join the compliment paid to one who is not only known as one of our best musical critics in theory, but also as one of the most zealous practical supporters of musical art in England, in which respect the establishment of the Royal Italian Opera in Covent Garden is a remarkable monument of his services.-John Bull.

HAYMARKET THEATRE.-On Monday night Mr. Sothern played the character of Lord Dundreary at this house for the 300th time. He made his first appearence on the 11th of November, 1861, and acted the character for 35 consecutive nights. This was not a remarkable "run," nor had there been anything extraordinary in Mr. Sothern's success when he left the theatre at its conclusion. During his absence, however, the singular type of humanity which he had presented on the stage and adorned with such curious details became the talk of the town, and when he re-appeared on the 27th of last January he found a public prepared to give him an enthusiastic reception. From this point Exhibition became, it is said, greater than ever was known at the his attraction increased nightly, and on the opening of the International Haymarket since the famous days of Paul Pry. From the 27th of January to the present time Lord Dundreary has exhibited his eccentricities without intermission, and there is no reason to doubt the probability of his appearance 100 times more. Such a success, achieved by these presentations of a single part, has not occurred within the memory of any one not sufficiently old enough to recall the greatest triumph of Liston. "Palmam qui meruit firat," is an old motto, but even critics who question the high deserts of Mr. Sothern must admit slightest adventitious assistance. that he has gained the palm somehow or other, and that without the

THE BAYSWATER GLEE AND MADRIGAL UNION commenced a series of concerts, at Westbourne Hall, on Wednesday evening, under the direction of Mr. William Carter. The Union, which, we believe, has been recently established, consists of some seventeen or eighteen members, all of whom are vocal professors. The general performance on Wednesday evening was extremely good, and a few short comings and defficiences here and there must be overlooked as almost inevitable at the commencement of an undertaking of the kind. Mr. W. Carter, indeed, is entitled to no small praise for bringing so capable a body of vocalists together, and exhibiting them in such good working order at the outset. A nearer approach to perfection will come in due time. The programme of the first Concert was well selected and well varied, and comprised several of the most popular glees and madrigals, which, however, though well rendered and excellent in themselves, seemed caviare to the Bayswater public, who seemed greatly to prefer solos and duets. Nevertheless, Mr. Carter must not be deterred on that account from persevering in making the fine compositions of the old English masters the special feature of his selections on all future occasions. The single songs and duets on Wednesday night were in excess, and however acceptable to the audience, were rather out of place in a concert devoted ostensibly to the performance of glees and madrigals. Miss Fosbroke (principal soprano, we believe, of Mr. Henry Leslie's Choir) created a marked sensation in "Roberti toi, que j'aime." The vocal music was relieved by some pianoforte playing, best of which were Beethoven's Sonata in A major, No. 2, Op. 2, by Mr. Carter, very admirably executed, and Hummel's Grand duet in A flat, by Mr. Carter and Miss Marian Walsh, his pupil, and a very promising one.

SACRED HARMONIC SOCIETY.-The first Christmas performance of the Messiah took place last night at Exeter Hall under the direction of Mr. Costa, with Mad. Lemmens-Sherrington, Mad. Sainton-Dolby, Messrs. Henry Haigh and Weiss as principal vocalists. Particulars in our next.

ST. JAMES'S HALL,

REGENT STREET AND PICCADILLY.

THE

offers any difficulty. But Mr. Reeves's voice alone, enviable gift though it be, could not, even with the aid of more than average acquirement, have made him the singer he is. It is his sentiment and feeling-which give him dominion over the whole range of expression, his severe judgment and

MONDAY POPULAR CONCERTS classic taste-which help him to a proper estimate of every

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TERMS {Every additional 10 words TO PUBLISHERS AND COMPOSERS-All Music for Review in THE MUSICAL WORLD must henceforth be forwarded to the Editor, care of MESSRS. DUNCAN DAVISON & CO., 244, Regent Street. A List of every Piece sent for Review will appear on the Saturday following in THE MUSICAL WORLD.

composer and every style, rather than his physical endowments and rare mechanical skill, that have won him the sceptre of sacred song. Never was reputation more honourably earned, or preserved with more watchful jealousy. Like all great artists, Mr. Reeves is an enthusiast, and regards his profession with a proud affec tion. His heart is bent on gratifying and satisfying his admirers, and he lives and breathes upon their good opinion. No public artist we have ever known is more deeply solicitous for public approbation. Mr. Reeves will never sing unless he knows he can sing well-in other words, he will never risk dissatisfying those who pay to hear him, and who expect to hear him, as they have already heard him-at his best. Other singers-"not to disappoint the public," as it is expressed-will go forth to sing even when unable to articulate - thereby naturally creating greater "disappointment" than if they did not sing at all. This is a plain miscalculation, whatever may be said to the conand takes care of it, which enables him to be one of the most useful, as he is one of the most able and one of the most esteemed, of "public servants."

TO CONCERT GIVERS.-No Benefit-Concert, or Musical Perform-trary. ance, except of general interest, unless previously Advertised, can trary. Fortunately, Mr. Reeves has a vigorous constitution, be reported in THE MUSICAL WORLD.

TO CORRESPONDENTS.

A. D. X.-M. Halevey died some time last summer at Nice. A short biography of that composer appeared in the MUSICAL WORLD about the same period. Biographies of Boieldieu and Herold are in preparation, and will be launched in spring-fall. Adolphe Adam has been dead some years.

The Musical World.

LONDON: SATURDAY, DECEMBER 13, 1862.

Tess than a special talent, we need scarcely observe. Madame Clara Novello, so eminent in sacred music, was indebted to education, as well as to natural abilities, for the high position she attained. She had a lovely and capable voice-all, in the opinion of too many, that is indispensable to a singer-but was somewhat deficient in expression and in that sensibility which is born of the "divine fire." Madame Novello's effects were, for the greater part, produced by her voice alone. Such a voice could not fail to touch any but the most apathetic, and the more so, be it understood, since it had undergone the most careful preparation under the best instructors. Jenny Lind, on the other hand, has triumphed over the hearts of her hearers by her thorough artistic skill, united to an energy which nothing could subdue. At times-in Elijah, for example-she has seemed like the inspired Pythoness, standing on her tripod and delivering her oracles in words of fire; and all despite an organ which would not invariably realise the highest aspirations of the singer's will.

Oratorio singing requires a special training no

Mr. Sims Reeves is undeniably the most legitimate interpreter of sacred music now before the public-and, indeed, perhaps the greatest to which this country has given birth. In him Nature and Art have made a glorious compact. His voice, one of the purest and richest tenors ever heard, has received every possible aid from scientific study, and the result is a thorough mastery, to which no kind of music

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allow them to excel in sacred music, proves that there must The few singers we have, men or women, whose talents be something defective in the prevalent system of vocal education. Perhaps the fact that the sympathies of some of our best Italian teachers are with Opera rather than with Oratorio, with Rossini and Bellini rather than with Handel and Mendelssohn, may in some measure account for it. Or, perhaps, their pupils are deterred from the severe school of sacred music by its, to them, comparative want of charm. Is Handel too exacting, or Mendelssohn too plain?-or does the all-attractive theatre "loom in the distance," with faccio tingers of the first class are rarer, much rarer, than a fascination be resisted? Whatever the cause, Opera-singers; and, as our experience of the continent has shown, this is as much the case abroad as at home. We have been compelled to go to Germany for a prima donna, which, no doubt, we should not have done could we have found as good a one in every respect at home. Now, how ever, that the oratorios, masses, &c., of the great masters are coming into wider vogue than ever, we may reasonably presume that singers will begin to bestow more serious attention on sacred music, and that study and knowledge will enable them to assert, once again, that superiority in oratorio singing, which, until lately, was the boast and pride of English artists, and which is now concentred in Mr. Sims Reeves and a few others, whose names might be reckoned on the fingers (of one hand ?).

tempere, there are only three which exhibit and work the forty-eight fugues contained in the Clavier bien the appellation of triple fugues. Of these three fugues out three themes, and which consequently can lay claim to that in C sharp minor, in the First Part, is advantageously distinguished for its model arrangement, and the exhaustive manner in which it is worked out. It is true that the

F sharp minor fugue of the Second Part, which is one of

*Neue Berliner Musik-Zeitung.

the three, finally combines its three themes, and thus justifies its character as a triple fugue; but, from the fact of this combination occurring only three times (bars 54, 60, 67), as well as from the mode in which the second and third theme are introduced, it exhibits a certain carelessness as regards the combination and working out of the themes. Of the latter, the second appears for the first time at the twentieth bar, its first motive denominating and diverting attention from the conclusion. When the first theme is introduced a second time, the first motive of the second is heard four times; but the entire second theme, which is disproportionately short, appears only once, as if by chance, and also with a slightly altered conclusion in the first. It then disappears, as does, also, for a time, the first, and, even during the C sharp minor cadence the development of the third theme commences, fifteen full bars being devoted to the purpose; but this third theme is in no wise presented to us under the shape in which it afterwards unites with the two others, the bare motive on which it is founded being developed, to a greater or less extent, in the various parts, while the counterpoint occasionally reminds the hearer of motives of the first theme. It is not until bar 55, at the eighth appearance of the theme, that the two others unite with it :

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seems on the point of losing all claim to be entitled a fugue, appears, also, in the liberties taken with the form of the triple fugue. For instance, in the 33rd bar, at the second bar of the theme, two melodies are suddenly and simultaneously introduced, and these melodies-the one advancing with dignity, in long notes, with heavy steps, the other forcibly through dissonant syncopations and with an upward soaring, both in decided relation to each other-take the toying theme between them :

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and are calculated to create a doubt whether we here have a triple, a double (first and second theme) or a single fugue (with two antithetical movements, incidentally introduced and retained as it suits the composer's convenience). The fact, however, of the counterpoint of the octave not being employed would of itself afford no proof as regards the form of the triple fugue, any more than that it does not appear to have been taken into account in the planning of the themes generally, as is especially apparent from some suspicious intervals of a fourth, and an interval of a seventh with a tie underneath, which would give an inversion in the octave :

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The consistent development of three characteristically different themes would, even without the counterpoint of the octave, be sufficient for a triple fugue. Still, on the one hand, the important introduction, and, on the other, the near relation, together with, subsequently, the stepmotherly" treatment of the two subordinate themes, are quite sufficient to keep up the doubt expressed above. While, when we examine into things more nearly, the counterpoint leaves us in the lurch-where, at the first glance, we thought we were most certain of it-we find it energetically and admirably employed in several simple fugues of the Clavier bien tempéré. That the C minor Fugue, No. 2, and the B Fugue, No. 21, of the First Part, are founded upon this kind of counterpoint, has been proved with regard to the former, and mentioned with regard to the latter. But the C sharp major, also, of the First Part, exhibits an extraordinarily fine specimen of the employment of triple counterpoint, which, with those cited above, would be well adapted to replace less excellent examples in our educational books. In this fugue, both antithetical movements, of the second as well as of the third part, are several times retained, while the parts are transposed in the octave whence this passage:

occurs five times, and that, too, in the relations 1 2 3 (twice), 1 3 2, 3 1 2, 231 (twice), with the evasion, therefore, of the relations 3 2 1 and 2 1 3, which here follow:

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Mario has returned at the appointed hour, and been received as a conqueror would not always be received! The house was crowded to the ceiling; crammed in every nook and corner; such a night's receipts had never been known. The entrance of the charming tenor on the stage was the signal for a storm of applause which lasted for more than five minutes; such a reception had never been seen before. When quiet was at length restored, Mario commenced singing, as we have often heard him sing, as if he were at home, with all his accustomed facility, grace, and abandon. Count Almaviva did not appear to recollect that, the same week, he had, for an instant, changed his costume. As it is not the cowl that makes the friar, we must confess that the friar often runs a great risk in adopting another dress.

The evening previously, it was another artist who played the part of Almaviva. What must Rosina have thought on finding herself, in the course of only two days, in the presence of two different Lindors? Mdlle. Patti was Rosina on both occasions. On Saturday, she had Gardoni, and, on Sunday, Mario for a lover! What inconstancy! After all, it is the management which is third part, which she tried after the Sonnambula and Lucia, Malle. responsible; Doctor Bartolo's ward only did her duty. In this Patti was no less applauded and no less remarkable than in the two others. She had only to give herself up to all her vivacity, all her intelligence; she had only to yield to her instinct as an actress and a singer. Nothing is more easy for an artist of her age, her figure, and her character, than to identify herself with the character of Rosina. We have seen Mad. Julia Grisi, though certain amount of exaggeration. This is the only fault with which somewhat less young, give it so naturally as to be accused of a Malle. Patti, also, can be reproached. Our French Rosinas have accustomed us to such calm revolts, such moderate accesses of passion, that Spain and Italy always astonish us by the freedom of their demeanour. Conscientious amateurs wanted to know why Mdlle. Patti did not adhere to the literal text of her cavatinas and duets? They desire, that, after the lapse of forty years every thing should still be in precisely the same place, and they are right over and over again; but then Mdlle. Patti is not wrong in supposing that it is allowable to vary slightly what everyone knows by heart. Everywhere, save in Paris, people are fond of new embellishments, and Malle. Patti has served us as she has served others. We prefer to have the same things always given us; she will find no difficulty in contenting us.

For the singing lesson, she first sang Eckert's "Echos" (which was called for again), and then "La Calesera," a Spanish chaasonette, rapturously encored, and repeated by the young and brilliant vocalist with an éclat and an effect of which no words can convey an idea. This evening, Il Barbiere will be repeated, and Madle. Patti will sing a piece which enjoys an immense vogue, and is entitled "Di Qioja insollta." It is translated into French under the title of "Le Bal." Its author is M. Strakosch, her brother-in-law.

* Translated from the Revue el Gazette Musicale.

What we said at the very first, concerning the talent and the person of Adelina Patti, as well as concerning her future among us, is in course of realisation. People may object to her for some small details; they cannot relish the combination of her natural endowments, which are so peculiar to her that nothing analogous is to be found anywhere else. She possesses voice, expression, and fascination. In serious parts, she is perfectly simple and touching; in comic ones, she may be a little too lively, but that belongs to her age; she will divest herself of it perhaps too soon.

PAUL SMITH.

MONDAY POPULAR CONCERTS. The extra performance on Saturday, (the 8th of the present series), for the Lancashire Relief Fund, was somewhat prejudiced by the weather, which was cruelly unpropitions, and kept a vast number of the "shilling" patrons away; nevertheless, the attendance in the stalls was good, and we understand that upwards of 120 guineas will be contributed.

The programme was one of the best imaginable. Mozart's 6th quartet (in C major-from the Haydn set) formed the subject of a recent leading article in this journal. It is enough, therefore, to say that it was played to perfection by Herr Joachim and his able coadMDLLE. TITIENS ("on dit") has accepted an engagement for the Sanjutors, MM. L. Ries, H. Webb and Piatti. Herr Joachim has been Carlo, Naples. She leaves England very shortly to fulfil it, and will called "Beethoven's High Priest" and "Bach's High Priest;" but is he not return till the end of March. not equally Mozart's High Priest and Haydn's High Priest? " AssuréHERR JOACHIM left London for Hanover on Tuesday evening-viament"-as M. Théophile Gautier said to M. Victor Hugo on the Boulevard Bonnes Nouvelles. The pianoforte Sonata was Beethoven's

Calais.

EXETER HALL-The enterprising Mr. G. W. Martin was not likely to allow this week to pass without throwing out some such temptation to the music-loving public from all parts. With his "National Choral Society" at hand, and four of our best oratorio singers disengaged, he was enabled to offer a performance of no ordinary attraction. Handel's Judas Maccabous was a happy choice for more than one reason, and chiefly as containing airs in which Mr. Sims Reeves, tenor for the occasion, never fails to rouse his audience to enthusiasm. On Wednesday night the attendance was immense, and Mr. Reeves-which is invariably the case when he has to stir up the feelings of a crowd-sang his very best. To say nothing of its companions, the famous "Sound an alarm" carried all before it, and was redemanded amid an uproar of cheering and applause. Seldom-never perhaps-has this inspiring piece of musical declamation been delivered more superbly. To Miss E. Wilkinson, who is making evident progress, was allotted the soprano part, which comprises three of Handel's most popular songs ("Pious orgies," "O Liberty," and "Wise men flattering"); to Miss Palmer-always correct and always impressive in sacred music,-the contralto; and to Mr. L. Thomas-one of the youngest, though by no means one of the least talented, of our oratario singers, the bass. Several of the choruses were given with equal spirit and precision; and, indeed, with such a host of fresh and vigorous voices it could hardly have been otherwise, under the guidance of a resolute chief. "O Father" (Part I.), and the irresistible "See the conquering hero" (Part III)-curtailed, by the way, of its preliminary trio for women's voices (solo) were encored and, like "Sound an alarm," repeated. To conclude, if the performance was not unexceptionable, it offered too many good points not to warrant strong encouragement and very considerable praise. Mr. Martin announces The Messiah for next Monday,

with Mr. Sims Reeves as tenor.-Times, Dec. 12.

HORACE VERNET.-The Emperor of the French on hearing of the relapse of M. Horace Vernet, sent to the illustrious painter, with an autograph letter, the insignia of Grand Officer of the Legion of Honour. M. Horace Vernet has received the last sacraments at the hands of the Curate of St. Germain des Prés, and has bidden farewell to all his friends who surrounded his bed of suffering.

DENNERY V. THERIC.-The Imperial Court has just given judgment on an appeal from a decision of the Paris Tribunal of Commerce, in which M. Dennery, manager of the St. James's Theatre in London, was plaintiff, and Mademoiselle Théric, the actress, defendant. In 1861 M. Dennery engaged Mademoiselle Théric to play at his theatre from the 20th of May to the 31st of July, and it was stipulated that she should not take part in any private theatrical performance without his consent. Having been requested to play in Alfred de Musset's Caprice with M. Fechter at Lady Molesworth's, on the 20th of July, Mdlle. Théric informed M. Dennery of the fact, and asked his permission, which, as she was not wanted at the theatre on that day, was readily granted, and she accordingly accepted Lady Molesworth's proposal. M. Dennery, however, changed his mind two days before the performance was to take place, and gave Mdlle. Theric formal notice that she must not play. Mdlle. Théric replied that she had accepted the engagement on the faith of his promise, and that she would fulfil it, whatever the consequences might be, and she did so. M. Dennery then commenced proceedings against her before the Paris Tribunal of Commerce, demanding 5,000f. damages, but the demand was rejected with costs, on the ground that Mdile. Théric was justified in playing at Lady Molesworth's by the verbal permission which the plaintiff had given. M. Dennery now appealed against that decision, and the Court, after hearing counsel, confirmed it purely and simply. MDLLE. TITIENS and SIG. GIUGLINI have been "starring" at Edinburgh. Such a brouhaha was probably never known in stifly moral and teratologically particular "Auld Reekie." The North Briton is in convulsions. Nevertheless, Mr. and Mrs. Wyndham* have not to complain of bad houses. Chi sta col lovo impara a urlar.

* Manager and Manageress of the Queen's Theatre.

delicious Op. 26, in A flat:

Mr. Hallé was in fine play, and the Sonata-the "Marcia funebre sulla morte d'un Eroe" especially-pleased as it always does. Nevertheless, faultless as the manipulation, we should have preferred the finale a little slower. It is marked "allegro," not "presto," still less "prestissimo." Herr Joachim's solo (this time accompanied by Mr. Benedict on the fortepiano) was the alagio from Spohr's Ninth Concerto (D minor) :—

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Spohr introduces this and the Seventh Concerto of Rode (A minor) with a second violin part as substitute for the orchestral accompaniments, in his Great Violin School, and remarks as to the style in which both should be played. He would like to have heard his own concerto played by Herr Joachim, who on the present occasion transported his audience with the adagio, and was called upon, viva voce, to repeat it. Mendelssohn's Andante with variations in B flat, for two performers on one pianoforte (MM. Halle and Pauer) was admirably played and a genuine treat-just as it was in 1859, on one of the first "Mendelssohn Nights," when originally introduced at the Monday Popular Concerts by Messrs. Benedict and Lindsay Sloper Touching this charming piece more will be found in another column. The trio which brought the concert to an end was Beethoven's gorgeous Op. 97, in B flat-the Rodolphe Trio," as The Athenæum styles it (executants, Hallé, Joachim and Piatti). This great work-the sixth and last of Beethoven's pianoforte trios-was dedicated by the composer to the Archduke Rodolphe, upon whom he conferred so many similar favours, and among others the sonata in G, for pianoforte and violin, Op. 96, the work which immediately preceded the Trio in B flat (as the Lieder-Kreis, Op. 98-dedicated to Prince Lobkowitz, Duke of Raudnitz, to whom, so many years previously, the first six quartets, Op. 18, had been inscribed-immediately followed it) in the order of publication. It was produced shortly after the 7th and 8th symphonies (about 1814-15), preceded the 9th Symphony, the later sonatas, the Mass in D, and the last five quartets, and is one of the brightest and most splendid examples of Beethoven's so-called "Second Period," at its zenith.

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The singers were Miss Banks and Mr. Santley. The former gave Glinka's "Sleep, thou infant angel," in the first part, and in the second, described as " two of Schubert's most genuine musical illustrations of two Lieder-"Who is Sylvia?" and " Hark, hark, the lark "-rightly the poetry of Shakspeare." Mr. Santley gave "The Colleen Bawn" (Lily of Killarney), and "The Bellringer"-Benedict and Wallace. Both lady and gentleman sang their best.

The ninth and finale concert of the ante-Christmas series took place on Monday night. Among other attractions there was Mr. Sims Reeves, whose classical singing has had so marked an influence on the success of these entertainments from their earliest institution, and who was received, as he invariably is, with enthusiasm. It was also the last appearance of Herr Joachim, whose engagement at the Hanoverian Court has necessitated his immediate departure from England. The quartet and solo-playing of this gentleman have been the chief topics in musical circles since the concerts were resumed in October; and his performances of Bach's violin solos-to speak of nothing else— have given a special tone to the season. That they will be remembered with delight and anxiously looked forward to again in the summer of

*Of which both Messrs. Ashdown and Parry and Messrs. R. Cocks and Co. have published translations.

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