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"THE WORTH Of Art appears MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT
MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES."-Göthe.

SUBSCRIPTION-Stamped for Postage-208. PER ANNUM

Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28, Holles Street, Cavendish Sq. London, V.

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MR. MARTIN has the pleasure to announce that he has engaged

MR. SIMS REEVES

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In consequence of the success of the Society's performance of "JUDAS" on the 10th, the Oratorio will be repeated on WEDNESDAY, the 7th January.
Subscriptions for the Season of TEN GRAND CONCERTS, Numbered Stalls, Two Guineas; Family Tickets to admit Three to each Concert, Five Guineas.
Reserved Seats, Twenty Five Shillings. Family Tickets, Three Guineas. Offices-14 and 15 EXETER HALL.
Ladies and Gentlemen (competent Amateurs) wishing to join the Choir may obtain particulars at the Office.

STCONAMES'S
T. JAMES'S HALL-NEW PHILHARMONIC MAD

The subscribers are respectfully informed the CONCERTS will COMMENCE early next season. The subscription is for five grand orchestral and vocal concerts on Wednesday evenings. and five full public rehearsals on Saturday afternoons, on the same grand scale as last season. Terms-£2 2s. for a transferable season ticket for a reserved sofa stall or front row balcony; £1 11s. 6d. for second row. Application can be made to W, Graeff Nicholls, Esq., Hon. Sec. 33 Argyle Street, W.; Cramer and Co. 201 Regent Street, and Mr. Austin, St. James's Hail.

ADAME GORDON will Sing at Myddleton Hall on the 22nd, and at Westbourne Hall on the 23rd instant. Address, Hamilton Road, Gipsy Hill, Norwood, S.

M

ADAME LEMENS SHERRINGTON will sing by desire, Mr. GEORGE RUSSELL'S Song, "THE SWAN'S MELODY," at his Concert, to be held in the New Public Hall, Croydon, on Tuesday Evening,

December 23rd.

NONGS OF SCOTLAND.-Dudley Gallery, Egyptian MADAME

Mr. KENNEDY, the popular Scottish Vocalist, for a SHORT SERIES of ENTERTAINMENTS, at the above Gallery, on the SONGS of SCOTLAND, as recently given by him with eminent success at the Hanover Square Rooms and in Edinburgh, to commence on Monday Evening next and every Evening (Saturday excepted), at Eight. A day performance on Saturday at three o'clock. Mr. Land, the coadjutor of the celebrated Mr. Wilson, will preside at the Pianoforte.-Stalls, 4s.; Second Seats, 25.; Admission, 1s.-Royal Library, 33, Old Bond Street. W.

ADAME ERNESTINE SMYTH, Contralto.-All letters respecting engagements for Oratorios, Soireés, Concerts, or Lessons, to be addressed to Messrs. Duncan Davison and Co., 244, Regent Street, London.

ΜΑ

return to town for the season.

ADAME SAINTON DOLBY begs to announce her
All communications to be addressed to 5, Upper Wimpole Street, Cavendish
Square.

H

ERR JOSEPH HERMANNS (BASSO), begs to an

nounce that he has returned from his provincial tour, and is free to accept

PUBLIC HALL'S ANNUAL EVENING CONCERT, on Tuesday; engagements for Concerts, Oratorios, &c. Address, No. 80 Harley Street, Cavendish

MR.

GEORGE RUSSELL'S Square.
December 23, 1862. To commence at Eight o'clock. Vocalists, Madame Lemmens
Sherrington, Madlle. Zeiss, and Mr. W. H. Cummings. Instrumentalists-Pianoforte,
Mr. George Russell. Violin, Mr. Henry Blagrove. Violencello, M. Paque. Conductor,
Mr. J. G. Callcott. Prices of admission, Reserved Seats, 5s.; Unreserved Seats
in the Gallery, 2s. 6d.; Unreserved Seats, is. Tickets to be obtained of Mr. Thomas
Weller, 2 High Street, Croydon.

BRIGHTON.

M
ADAME OURY'S GRAND MORNING CONCERT

at the Pavilion, Monday, December 22nd. Artistes, Madlle Titiens, Madame Lemaire, Signor Guiglini, and Signor Bossi. Pianoforte, Madame Oury; Violin, Mr. H. Cooper. Madame Oury will perform Beethoven's Sonata in G, Op. 30; her own fantasias on "Guillaume Tell" and "Il Barbiere," and accompany Mr. Cooper in Mendelssohn's Violin Concerto. Conductor, Signor Arditi.

All particulars to be obtained of Mr. Frederick Wright. Stalls, Half-a-Guinea.

R. R. SIDNEY PRATTEN begs to announce that
his Grand Fantasia from LE DOMINO NOIR, as performed by him at the
Gloucester Musical Festival on his Prize Medal Perfected Flute (old system of
fingering) is just published, price 8s., and may be obtained at 38 WELLBECK ST
or of Boosey and Sons, 28 Holles Street, W.

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NE

11, ALBANY STREET, Regent's Park Mem Singing, and the Theory and Science of Music.

PELZER continues to instruct teachers and amateurs in Guitar Playing

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NEWSPAPER

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In the Press.

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5. "Let us break their bonds" (Messiah).
6. "And the glory of the Lord" (Messiah).

7. "Let their celestial concerts " (Samson).

8. "But as for his people" (Israel in Egypt).

9. "The King shall rejoice" (Coronation Anthem). 10. "From the censer" (Samson).

11. "For unto us a child is born" (Messiah).

London: DUNCAN DAVISON, & Co. 244, Regent Street, W.

"LOVE IS A GENTLE THING,"

SUNG BY MISS EMMA HEYWOOD,

(From Howard Glover's Popular Operetta of "ONCE TOO OFTEN.")

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"Oh! Glorious Age of Chivalry." Duet. For Soprano and Contralto "The Solemn Words his Lips have spoken." Grand Air. For Soprano "The Love you've slighted still is true." Ballad. Sung by Mlle. JENNY BAUR "Stratagem is Woman's Power." Ballad. Sung by Miss EMMA HEYWOOD... "Love is a gentle Thing." Ballad. Sung by Miss EMMA HEYWOOD "A young and artless Maiden." Romance. Sung by Herr REICHARDT "There's Truth in Woman still." Romance. Sung by Herr REICHARDT "The Monks were Jolly Boys." Ballad. Sung by Herr FORMES "In my Chateau of Pompernik." Aria Buffa. Sung by Herr FORMES "Once too often, or No?" Quartet for Soprano, Contralto, Tenor, and Bass

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"The great and deserved success of this work has brought it, in no long time, to a second edition, carefully revised, and enriched with a number of additional exercises which greatly increase its value.-Illustrated News.

London: DUNCAN DAVISON & Co., 244, Regent Street, W.

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BALE

The

Poetry by EDMUND FALCONER, Esq. Sung by Miss Anna Whitty upwards of 300 nights at the Royal Lyceum Theatre, in the Lakes of Killarney, and now being sung by the same distinguished vocalist every night at the Theatre Royal, Manchester, is published, price 3s., by DUNCAN DAVISON & CO., 244 Regent Street. "The execution by Miss Anna Whitty of that charming little song that for six months formed a graceful adjunct to the Killarney Panorama at the Lyceum, it is needless to speak, as her talents are well known in Liverpool; but the song itself has been unheard out of London until the present month, when the same vocalist is engaged

The
HE FOLLOWING COMPOSITIONS (Copyrights), in its performance at Manchester. The public, who so long appreciated it wher

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"Friendship." (Freundschaft.) Quartet for 2 Tenors and 2 Basses ... "The merry hunters." (Die Lustigen Jägersleut.) Chorus for Tenors and Basses

"To thee, dear land, I sing" (à la Patrie), for 2 Tenors, 2 Basses, and Chorus "God save the Queen," 2 Tenors and 2 Basses, with Piano ad lib.

The Lord's Prayer for Soprano, Alto, Tenor, and Bass, with Organ ad lib... "This house to love is holy." Serenade for 8 Voices (without accompaniment) "Aspiration," for Bass, Solo, and Chorus of 3 Sopranos, 2 Tenors, and 1 Bass "Here on the mountain," with Clarinet obbligato

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heard on the theatrical boards, will soon have an opportunity of personally testing its merits, and cannot fail but be struck not only with the charm of its simple and thoroughly Irish melody-substantiating its claim to its title of "Killarney"-bat also with the still rarer charm of its being associated with words so full of poetical grace and sentiment that surprise is no longer felt at the inspiration given to the composer of the music, particularly when it is known that they are from the elegant pen of Mr. Falconer, the accomplished author of the renowned Peep of Day," and who, in that wonderfully popular drama, displays some exquisite touches of refined poetry, that not a little contribute to enchance the merits of its interesting plot. 1: should be added that this little bijou of a composition is to be found at the well-known publishors, Duncan Davison and Co., Regent-street."-Liverpool Journal.

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EW SONGS BY W. VINCENT WALLACELLE

NEW

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"The Song of May " "When thou and I last parted"

3s.

3s.

38.

London: DUNCAN DAVISON & CO., 244 Regent Street, W.

"Loved and Lost"

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...Just published, price 3s. with a Portrait,

ADELINA

ADELINA PATTI'S NEW BALLAD, THE OLD HOUSE BY THE LANDENS." The Poetry

by LONGPELLON

Sung with the greatest success by Mlle. ADELINA PATTI, for whom it was expressly composed by HOWARD GLOVER.

London: DUNCAN DAVISON & Co. 244 Regent Street, W.

MENDELSSOHN'S VARIATIONS IN B FLAT.* Although this work is marked No. 11 of the Posthumous Publications, and "Op. 83," its origin dates long previous to the death of Mendelssohn, which happened on the 4th of November, 1847,in his own house at Leipsic-little more than a year after the triumphant production of his oratorio of Elijah at the Birmingham Festival. The Andante in B flat was intended as one of a book of

three original Airs with Variations, which the composer had agreed to write for a London music publisher, but of which only this and another, in E flatt (Posthumous Publications, No. 10, "Op. 2"), were found complete among his MSS. That it was heard in England many years ago is certain. Few, however, may be aware of the fact that it was first performed in public by Mendelssohn himself, in conjunction with our countryman, Sterndale Bennett, at a morning concert given by the latter, on Tuesday, June 25th, 1844, in the Hanover Square Rooms. This performance is recorded by a musical journal (since defunct) in the following paragraph:"A burst of applause welcomed the appearance of Mendelssohn, and the concert giver, Sterndale Bennett, who both sat down to the piano, and performed, in the magnificent style, a duet-Andante con variazioni, in B flat-the composition of the former, which but for the tardy arrival of the band, was intended to have wound up the concert. Of this composition, which we understand to be one of three original duets, we shall decline offering an opinion until another hearing. As far as we can judge at present, it is full of fancy, and quite worthy the reputation of Mendelssohn."-Musical Examiner, June 29, 1844.

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In the year 1844, Mendelssohn remained more than two month: here, and conducted the last five Philharmonic Concerts. Amon other things, were produced, for the first time in London, th incidental music to A Midsummer Night's Dream (which, at th suggestion of the late King of Prussia, Mendelssohn wrote, to complete what the well known overture had begun), and the Firs Walpurgis Night-the former at the fifth concert,* (May 27th), the latter at the eighth (July 8th). Mendelssohn, who was busy conducting during his sojourn, directed the concert of his friend Bennett, and, among other things, his own great Symphony i A minor (not then known as The Scotch Symphony), and his motet. Rome, were performed. Of Bennett's music were given-the "Laudate Pueri," composed for the convent, Trinita di Monte, at overture called The Naiades, the Fourth Concerto in F minor, and the final Rondo from a Concert Stück in A (which has never been published)-the composer being himself also the pianist. How highly Mendelssohn esteemed Bennett, and how generously he avowed his opinion, may be judged from the testimonial which he sent to our countryman when the latter was candidate for the Edinburgh Musical Chair-a document so honourable to both that it cannot fail to be read with interest.

"Berlin, December 17, 1843.

"My dear Friend. I hear that you have proclaimed yourself a candidate for the Musical Professorship at Edinburgh, and that a testimonial which I might send you could possibly be of use to you with the authorities at the University. Now, while I think of writing such a testimonial for you, I feel proud and ashamed at the same time -proud, because I think of all the honour you have done to your art, your country, and yourself, and because it is on such a brother artist that I am to give an opinion; and ashamed because I have always followed your career, your compositions, your successes, with so true an interest, that I feel as if it was my own cause, and as if I was myself the candidate for such a place. But there is one point of view from which I might be excused to give still an opinion. While all good and true musicians are unanimous about the subject, perhaps the council of the University might like to know what we German people think of you, how we consider you; and then I may tell them that if the prejudice, which formerly prevailed in this country against the musical talent of your country has now subsided, it is chiefly owing to you, to your compositions, to your personal residence in Germany. Your overtures, your concertos, your vocal and instrumental compositions, are reckoned by our best and severest authorities among the first standard works of the present musical period. The public never feel tired of listening to, while the musicians never feel tired in performing, your compositions; and since they took root in the minds of the true amateurs, my countrymen became aware that music is the same in England as in Germany, as everywhere; and so, by your successes here, you destroyed that prejudice which nobody could ever have destroyed but a true genius. This is a service you have done to English as well as German musicians, and I am sure that your countrymen will not acknowledge it less readily than mine have done. Shall I still add that the science in your works is as great as their thoughts are elegant and fanciful-that we consider your performance on the pianoforte as masterly as your conducting of an orchestra-and that all this is the general judgment of the best musicians here, as well as my own personal sincere opinion? Let me only add, that I wish you success from my whole heart, and

*This fifth concert was further memorable for the first appearance in England of Joseph Joachim, who (then a boy of thirteen) performed Beethoven's Violin Concerto in a manner that has not been forgotten by any who were present. The Midsummer Night's Dream music was repeated at the sixth concert, by command of Her Majesty, who honoured the performance with her presence, accompanied by the Prince Consort, the King of Saxony, and a brilliant train of courtiers. 1844 was in other respects a remarkable musical year for London; Signor Sivori, and M. Sainton, the violinist, Herr Leopold de Meyer, the pianist, and Madame Anna Thillon, all paying us their

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first visit.

FELIX MENDELSSOHN BARTHOLDY.""To W. STERNDALE BENNETT, Esq."

That the professors, legal and medical, in the Scotch University did not elect Mr. Bennett after all, but Mr. Hugh Pierson educated for the medical, and practising the musical, profession (since composer of the oratorio of Jerusalem and the music to the second part of Faust, both produced at the Norwich Festival is as notorious as the reasons that led to the decision. Mendelssohn's testimonial, however, would have been consolation for a much greater disappointment; and whether the great composer or the quid-nunes of Auld Reekie were right in estimating the claims of Sterndale Bennett, the after career of that eminent musician has long ago made a settled point.

that I shall be truly happy to hear that you have not missed it. thin little Frenchman, with the gray, bristly hair, and the ribbon of Always yours, sincerely and truly the Legion of Honour, must be Horace Vernet. He went on to talk quite earnestly and learnedly with Thorwaldsen about this beauty, and I rejoiced in my soul at such a young maiden, as the two old masters stood there and were forced to admire, while she danced on entirely unconscious. Then they got themselves presented to the parents; so I fell back and could not talk with them. A couple of days afterwards I was at the house of my acquaintances from Venice, the Attwoods, who wanted to present me, as they said, to some of their friends; these were the friends, and so your son and brother was satisfied. Thorwaldsen loves music; sometimes I play to him in the morning My piano playing gives me here special pleasure. You know how while he works. He has a right good instrument standing by him, and when I look at the old gentleman, and see how he kneads his brown clay, and smooths out an arm or a dress so finely,-in short when he creates that which one must afterwards admire as finished and enduring I feel very glad that I can afford him a satisfaction. But with all this I get behindhand in my work. The Hebrides is at last finished, and has become a singular thing. I have the nun piece in my head; for Christmas I think to compose the Lutheran Choral, for this time I shall have to spend it all by myself. That is to be sure more serious, as well as the anniversary of the silver wedding, when I shall light many candles, sing over the vaudeville, and look at my English conductor's baton. After New Year I will apply myself again to instrumental music, write several things for the piano, and perhaps another, or the other Symphony; for two haunt my head.

TWO LETTERS FROM MENDELSSOHN.

Rome, December 20, 1830.

In my last letter I have spoken to you of the serious Roman life; but as I like in my letters to write how I live, I must tell this time of the gay life; for that has reigned this week. To-day is warmest sunshine, blue sky, clear air, and on such days I have my own way of life, am busy until eleven, and from then till twilight I do nothing but breathe the air. Yesterday the weather was quite bright again, for the first time for several days; so after working a piece of the morning upon Solomon I went upon the Monte Pincio and walked up and down there all day long. It is an incredible impression which this air, this brightness makes; and when I got up to-day, and saw the clear sunshine again, I rejoiced at the do-nothing day that was to commence again. All the world goes hither and thither and enjoys Spring in December. Every moment you meet acquaintances, loiter about with them, remain alone, and can dream well. The place swarms with the sweetest faces; as the sun advances, the whole landscape and all colors change; when the time comes for Ave Maria, we go to the church of Trinita de' Monti; there the French nuns sing, and it is wondrous lovely. Upon my soul, I grow quite tolerant, and listen with edification to bad music. But what is to be done? The composition is ridiculous; the organ playing still more stupid; but now it is twilight, and the little motley-colored church is all full of kneeling men, who are shone upon by the setting sun whenever the door opens; the two singing nuns have the sweetest voices in the world, touchingly tender; and especially when one with her soft tone sings the Responsorium, which you are accustomed to hear so hoarse and stiff and monotonous from the priests, it gives you a strange feeling. One knows, moreover, that he is not to see the singers; so I have formed a singular resolution: I will compose something for their voices, which I have marked very closely, and will send it to them, for which several ways stand at my command. Then they will sing it, that I know; and that will be fine now, when I hear my piece sung by people whom I have never seen, and when they have to sing it before the barbaro Tedesco, whom they also do not know. I enjoy the thing very much; the text is Latin; a prayer to the Madonna. Does not the idea please you ?*

After church we go to walk again upon the hill, until it is dark. For there Mme. Vernet and her daughter, also the pretty Mme. V. for whose acquaintance I am very grateful to Rose, play great parts among us Germans, as we stand in groups, or follow after them, or walk beside them. Pale painters, with hideous beards, form the background; they smoke tobacco on the Monte Pincio, whistle to their dogs, and in their way enjoy the sunset. As I happen to be frivolous to-day, I must particularly inform you, my dear sisters, that I was lately at a great ball, and danced with such a relish as I never did before. I had said a good word to the maître de danse (for here such a person must stand in the middle and order all), and so the man let the Galop last more than half an hour. There I was in my element, and very distinctly conscious that I was dancing in the Palazza Albani in Rome, and, what is more, with the handsomest maidens in Rome, according to the opinion of competent judges (Thorwaldsen, Vernet and others). The way I made their acquaintance is again a Roman story. I stood at Tortonia's, at the first ball, knowing not a single lady, and therefore not dancing, and looked at the people. Suddenly some one taps me on the shoulder; "And you, too, admire the beautiful English lady?" "I am altogether astonished." That was the Herr Counsellor Thorwaldsen, who stood in the doorway, and could not satiate himself with looking. But scarcely had he said that, when a whirlwind of words rang out behind us: "Mais ou est-elle done, cette petite Anglaise ? Ma femme m'a envoyé poar la regarder, per bacco;" and it was clear enough that the * The piece afterwards appeared as Opus 39.

I have got acquainted with a glorious spot, the tomb of Cecilia Metella. The Sabine mountains had snow upon them,-it was heavenly sunshine,-the Alban range lay before one like an apparition in a dream. Distance there is not here in Italy; but all the houses on the mountains may be counted, with their windows and roofs. Thus have I sucked the air to satiety, and to-morrow the serious life will have to begin again, be! for the sky is overcast, and it rains hard. But what a spring this will

The 21st. The shortest day is dull, as was to be foreseen; to-day therefore I must think of fugues, chorals, balls, and the like. I will add however a few words about Guido's "Aurora," which I visit very often, and which is a picture to run through the walls; for such a hurry, such a pressing forward till all rattles and rings again, has no man ever conceived. The painters maintain that it is lighted from two sides; for my part, they may light their pictures from three sides, if it will help them; but it lies elsewhere! Dear Rebecca,-I can make no regular song here; who shall sing it to me? But I make a great Fugue: Wir glauben alle," and sing it myself, until my captain, frightened, comes down stairs, looks in and asks if I want anything. Then I answer: a counter-theme. But what don't I want? And what have I not got? So life goes on.

FELIX.

Rome, December 23, 1830. rainy weather. Nothing can be more disagreeable and uncomfortable than Rome in storm, and cold, and torrents from heaven; and I hardly comprehend We have had now for several days continuously how I could write a week ago a letter full of walks, orange-trees and everything beautiful. In such weather everything becomes hateful. Yet I must tell of it, else my former letter would have no counterpart, and that must never be left out. If in Germany we have no idea of everything is arranged for fine weather, and so we endure the bad, as winter days as clear ones, neither have we any of a wet winter day; anywhere; in my chamber, which is otherwise one of the most comforta public scourge, and wait for a better time. There is no protection able, the water runs in richly through the windows, which will not come to; the stone floor is cold in spite of double carpets, and the smoke is driven from the chimney into the room, because the fire will not burn; the foreigners shiver and shrivel up with cold, like tailors. But this is golden in comparison to the streets, and I consider it a calamity if I have to go out. Rome, you know, is built on seven great hills: but there is also a multitude of smaller ones, and all the streets run side walks, or trottoirs; down the steps of the Piazza di Spagna it pours, sloping; there the water streams against one violently; nowhere raised risen and deluges the neighbouring streets, that is the water from as from the great waterworks on the Wilhelmshöhe; the Tiber has below. From above it comes in torrents of rain, but that is the least part of it. The houses have no roof gutters, but the prolonged roofs slope downwards, of different lengths however, and water the streets on both sides furiously, so that, go where you will, close to the houses shop; and before you know it, you stand under such a dripping, where or in the middle, you are shower-bathed from a palace or a barber's the water rattles down on your umbrella, and you have a stream before you not to be leaped over, and must retrace your way. That is the water from above. And then come the carriages driving close to the

The concert-overture known in England as Fingal's Cave, or The Isles of Fingal.

houses in the greatest speed, so that you must stand in the doorways until they get by; for they spatter men, houses, and each other; and if two meet in a narrow street, so that one has to go into the gutter, swollen to a stream, the inconvenience is great. Lately I saw an Abbé in his haste pull a peasant's broad hat from his head with his umbrella, and the hat fell bottom upward under such a cataract; the peasant turned round the wrong way to seek it, and when he found it, it was already filled with water. Scusi, said the Abbé-Padrone, answered the Peasant. Moreover the fiacres only run till five, and so if one is in company it costs a scudo; fiat justitia et pereat mundus. Rome in rainy weather is incredibly cheerless. By a letter from Devrient I see that my letter to him, which I carried to the post office myself in Venice, on the 17th of October, had not yet arrived on the 19th of November. Just so another letter, which I sent on the same day to Munich, had gone astray; both letters contained notes; and therein lies the reason. For in Venice at that time they took all my manuscripts away from me at the custom house, when they examined my things in the night, just before the departure of the post, and I have only just now, after much annoyance, and writing back and forth, got them all back again. I have been assured here generally, the reason was, because they suspected a secret cypher correspondence in the notes. I could not believe such a miserable stupidity; but since precisely these two letters from Venice with music have not reached their destination, and only these, it is clear enough. I shall enter a complaint about it here at the Austrian embassy, but it will not help me, and the letters, for which I am very sorry, are lost. And so farewell. FELIX.

COLOGNE.*

With the Winter-Season here, our agreeable "Gesellschafrs-Con certe" have recommenced in the Gürzenich. Good and varied pro grammes, the admirable management of the town Capellmeister Ferdinand Hiller, and excellent instrumentalists and vocalists, distinguish these performances as a source of great enjoyment for all lovers of music. The numerous audience, which, re-inforced by many visitors from the neighbouring cities (Düsseldorf, Bonn, etc.) fills the Gürzenich, even to the galleries-the building contains above 1300 places-shows the just and warm interest created.

The first concert was held on the 21st October, and its programme comprising the overture to the Oberon, the Sinfonia Eroica (with solo and chorus singing between whiles) and a violin-concerto by Spohrformed an excellent introduction to this year's cyclus. The overture to Oberon was given very finely, although the introductory andante was taken somewhat slower than usual. Much is left, however, to the judgment of a conductor in the choice of tempo, and it is sufficient to recognise the spirit and consistency with which the work was executed, and which reflected the highest credit upon the genial director as upon the performers. The overture was followed by Schumann's air: "So stehet ein Berg Gottes," sung by Herr Jul. Stockhausen. Last winter we had already enjoyed the pleasure of hearing this gentleman, so endowed with natural powers and technical skill. Herr Ferdinand Hiller accompanied with a "virtuosity" peculiar to himself. This playing was artistic perfection, but-as should always be the case-not the less subordinating itself to the singer. In three four-part songs for chorus without accompaniment, Herr Hiller and the members of his chorus did wonders. Next came an air from Sacchiai's Edipe à Colone, also sung by Herr Stockhausen. One of the greatest treats of the concert was the violin playing of Herr Grünewald, who has formerly been extolled in appropriate terms.. The second part included the Sinfonia Eroica, the rendering and execution of which were equally good, The second concert (on the 4th Nov.,) was distinguished by a performance of Mendelssohn's St. Paul, which may be pronounced highly successful, with some trifling exceptions in the solos. It was the first time that the organ, erected last Whitsuntide for the celebration of our Musical Festival of the Lower Rhine, was employed at these concerts. At the Festival it afforded us a great treat, being an excellent instrument built in Barmen, and played in a masterly fashion by Herr Franz Weber, Cathedral organist. As it was uncertain, this Summer, whether the Concert Society intended to retain the valuable instrument permanently, people were now doubly delighted to see it for good in our Gürzenich, and destined, let us hope, to prove a source of frequent enjoyment. A good organ-which will always be an instrument to be replaced by no other, and which, despite its peculiar defects in many respects, is superior to all other instruments in the elevating impression it produces-ought properly to be absent from no concert room of importance. Thus then, in this particular, Cologne has outdone Berlin, for in the latter city not even the Academy possesses an organ, and if, now and then, performances of oratorios, etc., take *Neue Berliner Musik-Zeitung.

place in the Protestant churches, the Academy has hitherto been compelled to manage without this feature in its concerts. While in London, we cannot avoid remarking, in all the music we hear there, with the exception of the individual performances of great foreign celebrities, a vast inferiority to our music at home, there is one point in which the English appear to be in advance of us, and that is: that in nearly all their large concert-rooins, which, considered merely as such, are far inferior to our German concert-rooms, there is an organ. How magnificent is the effect of a good organ with a chorus and orchestra! Its broad full volume of tone forms an incomparably fine foundation for the latter, a golden background on which, when properly treated, the various lights and shades of the orchestra stand prominently forth. It is necessary, however, to have a master, like Herr Franz Weber, to subdue its power without injuring its volume. Herr Franz Weber succeeded by his playing in divers times the organ accompaniment of airs (without the aid of any other instruments) of aught like heaviness, causing it to equal in softness anything we ever heard. How powerful, though, is the effect when, in the fortissimo passages of the chorus and orchestra, the organ, in all its might, joins in and swells majestically through the whole room! Herr Franz Weber's performance was truly artistic and unsurpassable. The most delicate precision, and the nicest harmony with the chorus and orchestra were never wanting.-The orchestra and chorus performed their duty most effectively, as they always do. Some of the solos were well rendered. Mdlle. Adelina Büchner, of Cologne, sang the soprano part to the satisfaction of everyone. This was, I believe, her first appearance in public. It is with a feeling of sincere admiration that we direct attention to the great certainty of this talented singer, who sang the whole part without music-since she never saw the light of heaven. Mdlle. Asmann, from Barmen, who sang the contralto part, pleased us still better on this occasion than when we heard her before. The tenor of Herr Gunz, from the Theatre Royal, Hanover, although displaying power, was rather husky, while the intonation was, at times, uncertain. On the whole, however, this gentleman's good qualities outweighed his shortcomings. The part of Paulus suffered both from the manifest defects of Herr Heinrich Behr, from Bremen. His singing suffered throughout from "tremolo," such as we have hardly ever met with before. We should be unjust, however, did we not acknowledge, despite this drawback, having found plenty that was beautiful in the execution, generally good, and sometimes admirable, of the oratorio. Thus, we must mention, as particularly successful in the chorals, in addition to the quartet of the “False Witnesses," distinguished for the very graceful way in which it was given. They produced a magnificently solemn impression, each in its peculiar manner. This was the case with the choral: Dir, Herr, will ich mich ergeben," with accompaniment of the stringed instruments and organ in the First Part, and then with the splendid choral; "Wachet aup," the first three lines of which close with trombones and trumpets. We have not room to enter upon any further account of the attractions of this evening's performance.

66

NEW THEATRES IN LONDON.

(To the Editor of the Times.)

Sir,-The improvements in the structure of our London theatres suggested in a letter you were kind enough to publish some weeks ago attracted a good deal of public interest, and I received offers of money to an amount much more than sufficient to purchase a site and erect the building desired. Many of these offers were accompanied, however, by expectations not easy to realize; and, feeling doubtful whether the theatre I proposed would satisfy the many wishes expressed, I thought it more prudent to produce a model at my own expense, from which some idea might be formed of what seemed desirable, and upon which further improvements could be designed. With these views I obtained possession of Astley's Royal Amphitheatre; and, having gutted the auditorium, it as been reconstructed; the stage machinery has been altered; the lines of sight corrected; a new acoustic form given to the proscenium; and the old method of lighting has been superseded. The work has been completed in four weeks; the amount of the cost has been only what I could prudently afford,-perhaps a thousand or so over. All the improvements to which the public are entitled could not be introduced; the walls and pillars of the old structure, built for a circus and sighted for the ring, had to be preserved more or less, and constantly checked our designs. However, we managed to scheme round or over or under these obstacles, comforting ourselves with the assurance that these difficulties would be taken fairly and kindly into account when the work was submitted to public criticism. Wider entrances from the street are highly desirable, and I have acquired six houses occupying the corner facing on Westminster-bridge. On this corner will be formed a wide and handsome entrance to the theatre, opening into an ante-chamber or hall large enough to contain 1,500

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