MR. MARK LEMON ABOUT LONDON. abolished as a nuisance, where Henry Fielding had a booth for nine years, and such was the popularity of the fair that Drury Lane was celebrity associated with it in our day, and who kindly put Mr. Mark always closed when Bartlemy opened "muster." Richardson, the only Lemon on the free list, as one of the profession; Holborn, or Old Bourne, with its Field Lane and Saffron Hill, once gardens bearing the latter named plant; Ely Place, with the dancing Chancellor, immortaStreet, so strongly linked with Dr. Johnson, who lived and died in Bolt lised in the Critic; the Fleet Prison, with its infamous marriages; Fleet Court, where coffee was first sold at the Rainbow; Temple Bar, where glasses, let hard by at "One penny a look;" Fleet Street, where banking the rotting heads were investigated by the morbidly curious through spyfirst began, the goldsmiths being the original bankers, giving a receipt for the money, thus introducing bank-notes-the public, who had forof entrusting it to the care of a paternal king, who borrowed 20,000l merly deposited their savings in the Tower, having become rather shy without asking the depositors' leave-a proceeding not altogether unknown in these days, although subjects rather than kings play that desperately unsafe game; the Temple, where the Christmas revel plays Keeper, led off the brawls, and where, upon removing the floor, 900 were acted, barristers sang, and grave benchers, headed by the Lordpairs of dice were found that had fallen through the chinks, showing and much more, forms the subject of the second part of Mr. Mark that the title of the Devil's Own was not altogether misapplied: all this, Lemon's discourse, which has tempted us so far to exceed our limits, that Part III., London to Westminster, must be reserved for a future occasion. Meanwhile, we strongly advise those of our readers who wish to enjoy a thoroughly pleasurable hour by listening to a well-insoning the instruction with a quiet, dry humour, which is in such deformed gentleman pleasantly chatting of bygone men and things, sealightful contrast to the professedly "funny" lecturer; to these we say go and hear Mr. Mark Lemon, it is worth double the money if only to look at the good-tempered genial face of the editor of Punch. NICE. (From a Correspondent.)-The pleasant town of Nice is people, who literally swarm in the streets. Amusements, too, are exceedingly gay just now and full of company, especially English theatre for the benefit of the poor (the Bureau de Bienfaisance), rife, and recently (January the 16th) a concert took place at the which is worthy a place in the columns of the MUSICAL WORLD. The programme was as follows: ONE of the most recent, and at the same time most welcome, additions to the entertainments of the metropolis, has been furnished by the gentleman who has for so many years conducted the periodical whose witty pages and clever illustrations, social and political, have done more towards the amusement of the public than any other serial ever issued. Of the original contributors to Punch how few remain! Douglas Jerrold, Gilbert Abbot à Beckett, Albert Smith, Landells, and alas! many others whose names are less known, have been one by one gathered to the silent tomb, and Mr. Mark Lemon and Mr. John Leech are almost the only ones left of those that, nearly one-and-twenty years since, launched their literary venture on the sea of public opinion. Unlike Mr. Charles Dickens, who appears on the platform as a reader of his own works, "familiar in our mouths as household words," Mr. Mark Lemon comes before us in a new character, and those who go prepared for a comic lecture, and think that "about London" and "about Town" are the same things, will be woefully disappointed. What educated person is there who does not feel an interest in all that concerns this vast city of ours, whose numbers we recently learn are some 340,000 more than the whole county of Lancashire (although the latter occupies seventeen times the space), and whose salubrity is proved by the registrar's statistics to be hugely in advance of any other town in the kingdom. The word "Cockney" has been, and is still, by the thought less, used as a term of reproach, but what was the proudest boast of the ancients?" Civis Romanus sum;" and if the Latins held that to be a Roman citizen was the highest honour, how much more so shall we plume ourselves upon being denizens of a city, any one of whose suburbs would be equal in extent to the entire ancient capitol and then centre of civilisation. Mr. Mark Lemon at once avows himself "Cockney," and modestly disdaining any pretensions to the character of antiquary or archæologist, gives us the pleasantest hour and a half of agreeable and instructive gossip that can be possibly imagined. On the elegant little stage where Mr. and Mrs. German Reed with Mr. John Parry are at other times accustomed to divert their constantly numerous audiences, Mr. Mark Lemon comes forward, and by the aid of some well painted illustrations of London in the olden time, by Messrs. Thompson and Dalby, shows us more of what was really the aspect in the so-called "good old times" than we could gather by years of poring over old books and wearisome research among the chroniclers who are so constantly referred to by people, who have never read a line of their works, as "quaint and instructive.' Beginning with the Surrey side of London Bridge we are introduced to old Southwark, and how many are the memories, how deeply interesting the associations, of that now dirty, noisy Borough? Here was the Globe Theatre, of which Shakspeare was himself the proprietor, and for which he wrote (and possibly acted) some of his plays. Here, at Bankside, lived Beaumont and Fletcher. Here, at St. Saviour's, in one grave, lie Fletcher and Massinger, and under an effigy, Gower, contemporary of Chaucer, whose Canterbury pilgrims started from the old Tabard, now the Talbot; and, to come to more modern times, is there not the White Hart where we first make the acquaintance of the glorious Sam Weller! Castle Baynard, Paul's Walk, Cornhill, Cheape, old Guildhall, the fire of London, are the principal features of the first part-old London city within the walls. Part II. takes us to old London city without the walls, and here we have the earliest view of the Tower, copied from a painting of some 500 years back, showing, by a broad poetical licence of the artist, the same individual at once engaged in writing, listening to an address, looking out of window, and receiving a friend. From the Tower, with its historical associations dating to the Conquest, we are taken to the Minories, to Spitalfields, the burial place of our Roman conquerors, where, in Pelham Street, appearance of the Baronne Vigier (Sophie Cruvelli) created imThe attraction, you will perceive, was quite unusual, and the Milton's grand-daughter kept a chandler's shop, and the weavers earned a celebrity for always singing over their work, being noted for their mense excitement. This once celebrated lady is always ready to small heads and great souls, courageously beating the butchers in fair her magnificent and resonant voice. One cannot help lamenting assist the needy with her talents, and is still in full command of fight; to St. John's Gate and its whilom knights, whereabout Garrick played the Mock Doctor, and lived Cave the publisher, behind whose be the veritable successor of Grisi. she should be lost to the stage, more especially as she promised to screen Johnson ravenously wolfed his food-such times when the approach to the village of Islington was so dangerous that people waited for the benefit of his health. Although not quite renovated, he M. Leopold de Meyer came here about three months ago from Vienna, sent by the physicians until a sufficient number had assembled, when they proceeded with an armed escort. Hereabout again dwelt Button, the musical small-coal is on the high road to recovery, and, as far as his pianoforte playman, whose performances however were of such celebrity as to attracting is concerned, has lost not a jot of his former power and brilthe fashionables in large numbers, undeterred by the concert-room liancy. Signor Tamburini wears well for his years, and is at this being held in a loft (over the coals), to which access was gained by moment as ambitious to appear in public as in the heyday of his climbing a ladder. On to Clerkenwell Spa, now only marked by an establishment vending waters remarkable rather for fiery strength than strange to say, is affirmed of every new contralto-"a pupil of powers. The Countess Orsini, born Countess of Orloff, was-as, medicinal properties, to Bagnigge Wells, where the parish clerks enacted Rossini" (who never had any pupils). The concert was an emia tragedy which lasted eight days, embracing a period from the Creation to the possible end of time; Bartlemy Fair, which dragged out a feeble of 15,600 francs. Of this Baron James Rothschild gave 500 nent success. The receipts amounted to the extraordinary sum existence up to within the last twelve or fifteen years, and was at length francs for his box, Prince Oscar of Sweden 300 for his, Baron PART I.-Overture. Grand Scene and Air, "Casta Diva" (Norma), by Mad. la Baronne Vigier, née Sophie Cruvelli, Bellini. Duo, “Il vero intesi" (Roberto Devereux), by Mad. la Contesse Orsini and M. Ciaffei, Donizetti. Grand Fantasia, "Souvenir d'Italie" composed and by Signor Tamburini, Rossini. Duo, "E ben a te, ferisci (Semiramide), executed by Leopold de Meyer. Grand Air, "Sorgete" (Maometto II.), by Mad. la Baronne Vigier and Mad. la Contesse Orsini, Rossini. PART II.-Overture. Duo, "Pronta io sono" (Don Pasquale), by Adolphe Rothschild of Naples 400, Prince Stirbey 300, the Duke de Mouchy 300, &c. &c. At the termination of the concert, the applause was so loud you might have heard it in London. "La Vigier" and "Leopold de Meyer" were shouted for until they appeared, and when they came on there was a perfect storm of flowers on the stage, from all parts of the house, until the theatre seemed converted into a flower garden. Of course it puzzled the uninitiated to know how the flowers were obtained. I learnt subsequently that the Prefect of the Maine, who had organised the concert, had sent to Genoa on purpose for the bouquets. There is a tolerable Italian company here, who have been playing the Barbiere, Cenerentola, Trovatore, Maria di Rohan, Lucia, &c., with Mesdames Pozzi, Sanchioli, and Berini, Signors Ronconi (brother of Giorgio), Giannim, &c. We have also a French troupe. Poor Ernst is here, and still suffering, but hopes are entertained of his ultimate convalescence. M. Halevy may also be mentioned as on the sick list, but only troubled with a slight nervous complaint. THE MENTAL HISTORY OF POETRY.* The springs of life, the depths of awe, Tennyson. REVERTING for a moment to the wide question concerning the reason of art-effect, we may here remark that it is in the reason of that first power in the influence of these two arts, Painting and Music, where lies all the mystery-the mystery of Nature. The second power in the influence of these arts is simply a leading onwards of the first, a displaying it under the advantages of circumstantial variety and calculated relief, and an investing it with that dignity and interest which is always evolved wherever there is the fulfilling of any intelligible function. Thus its reason is discoverable in investigating the laws of the human mind. These two arts then, Music and Painting, are arts, of which the effect is constituted by their component material (that being itself an aesthetic effect), modified by the human mind. But, on the other hand, Poetry is an art in which there can be no æsthetic effect whatever, through the sheer influence of its component composition. There can be no æsthetic effect in mere words, mere measure, mere alliteration, as there can in totally divested colour and unmeted musical sound. The æsthetic effect of the art of Poetry must, consequently, mainly depend upon, and be produced by, the interposition of the mind. Thus, the first power in the effect of this art is that wrought by the mind. Thus, in the action of this art, the mind is directly and primarily appealed to-the reason is first invoked, the spiritual sympathies, the higher instincts of taste and appreciation are reached and impressed, and all extraneous charm is first suggested through the mind; whilst, on the other hand, all influence dwelling in the mere material constitution of this art ranks but second in its effect. Here, then, is perceivable that further and general divergence in the nature of Painting and Music as compared to that of Poetry; for, with reference to the general effect of the two former arts, its first power is derived from their material constitution, whilst their mental constitution, being absorbed in the former, becomes the second power in the effect; whereas, with respect to the general effect of Poetry, the first power of this effect is that contained in the mental constitution of this art, the influence of its material form ranking but second. And not only is that influence, which proceeds from the material conformation of Poetry, of but a secondary nature in general poetical effect, but even, such as it is, it is still not an original influence, peculiar only to Poetry; on the other hand, it is but the reflected light of outlying art-radiance. Whatever portion of poetic effect is produced, without, in the first place, calling into important action the distinct mental faculty, is borrowed from that independent effective power, which has been lately considered, dwelling in the component constitution of the two sister arts; as when colour is suggested in allusion to natural effects, or music indicated in exemplifications of metre and alliteration. • Continued from page 70. Having now seen that Poetry is, of all the arts, the one whose sphere of existence lies the nearest to, and is the most intimately merged with, the sphere occupied by humanity in its ordinary and practical life, as the very material out of which poetical effect has to be wrought, is man's common instrument of mental suggestionhaving seen that poetical effect can assume no æsthetic phase, through any mystic power of its mere component material, but must, in all its legitimate forms of manifestation, mainly appeal to the intellect-exhibit mental display, and thus of necessity encircle some human association;-that most of its abstract effect is due to the influence of its sister arts, Painting and Music; we shall now proceed to consider the circumstances and nature of its appropriating this separate art-influence, and endeavour ultimately to arrive at its own special feature of effect. That which we have up to this stage of our inquiry ascertained concerning it, is mostly of a negative character. By thus, however, in the first place, separating it in its component constitution, carefully from the other arts of Painting and Music, showing that, unlike these arts, Poetry essentially does not exist, not even remotely, in its physical conformation, we shall have cleared the ground so far, and be the better enabled to arrive at the distinctive feature in its nature, the secret spark of its vitality, which now of necessity must lie in its mental composition. Poetry being the name for a portion of that mental manifestation termed Art, it is consequently, with reference to its origin and the general laws of its existence, defined in the same analysis as that applicable to art. As in a previous inquiry there was occasion to define Art, in order to avoid any weakness in expression which might ensue from specifying the same truth in other words than those which it itself first prompted and particularly dictated, we will adopt the abovementioned definition literally on this occasion. "To define Art there is first to be remarked that it is preceded by a distinct emotion of admiration, created through the influence of some external object of beauty; or by an indefinite rapture of feeling aroused by the general action of surrounding nature upon the sense and intelligence of man. It arises in the tendency this condition of feeling exerts to push the pent ardour amassed in the receptive channels of the mind, outwardly, through the demonstrative faculties of the nature; to employ the outward sense; to wreak itself upon expression. "In consummating this expression it involves the action of that remarkable tendency prevailing in the human breast whenever charged with an emotion partaking of the character of administration, to reproduce, to conjure up again, the natural influence of that feeling. Thus the painter reproduces upon canvass the fair aspect of nature that impresses him, thus the lover conjures up in Poetic rhapsody, the charms which excite his admiration. "Now this reproduction of the external influence of emotion constitutes Art. But it must be remarked that the impulse of the breast thus resulting in Art has a reflex action. For the representation of an outward incentive of feeling, not only in its production employs the demonstrative faculties-not only constitutes the expression of an emotion, but in its effect re-acts upon the receptive faculties, and also thus perpetuates the emotion. This is Art, and this is the operation of a great principle of the human mind-by means of which it may be said to multiply its offspring' to perpetuate the existence of its own emotions."* In applying the mental principles of action, involved in this definition, to the particular mental act of Poetry, in its outward manifestation, we shall trace briefly and generally the circumstantial history and growth of this portion of art-phenomena; and in doing this we shall, conforming our direction of inquiry in that general course which we prescribed a few paragraphs back as desirable to be pursued, be led to the observation of that separate art-influence which has been stated to be present in the effect of Poetry. Reviewing the circumstances of poetical manifestation, even from its earliest indications, it is not difficult to perceive that these indications were, in the first place, "preceded by an emotion of admiration !" (To be continued) * Sec "The Philosophy of Musi. Introductory Remarks. the late composer Marschner, who died, as the readers of the MUSICAL WORLD were duly informed by our correspondent at Berlin, on the 13th of December last. Proceedings MONDAY POPULAR CONCERTS. have already been instituted to facilitate the accomplishment PART I. Quintet in D major, for two Violins, two Violas, and Violoncello, MM. SAINTON, L. RIES, H. WEBB, HANN and PIATTI (Mozart). Song, "L'addio," Miss PALMER (Mozart). Song, "The Star of the Valley," Mr. WEISS (Henry Smart). Pastoral Sonata, in D, Op. 28, Mr. CHARLES HALLE (Beethoven). So PART II.-Sonata in A major, for Violoncello, with Pianoforte accompaniment, Signor PIATTI and Mr. LINDSAY SLOPER (Boccherini). Song, "Sleep, heart of mine," Miss PALMER (Henry Smart). Song, "Per la gloria," Mr. WEISS (Buononcini). nata, in A major, Op. 47, for Violin and Pianoforte, dedicated to Kreutzer, Mr CHARLES HALLE and M. SAINTON (Beethoven). Conductor, MR. LINDSAY SLOPER. To commence at eight o'clock precisely. NOTICE. It is respectfully suggested that such persons as are not desirous of remaining till the end of the performance can leave either before the commencement of the last instrumental piece, or between any two of the movements, so that those who wish to hear the whole may do so without interruption. * Between the last vocal piece and the Sonata, an interval of Five Minutes will be allowed. The Concert will finish not later than half-past ten o'clock. Stalls, 5s.; Balcony, 3s.; Admission, Is. Tickets to be had of MR. AUSTIN, at the Hall, 28 Piccadilly; CHAPPELL and Co., 50 New Bond Street, and of the principal Musicsellers. TO CORRESPONDENTS. SY B-s.-L'ART DE CORRIGER LES TITRES (the work of a Benedectine Monk). -"Il est possible que le titre de l'opéra produit par le célèbre Jules Bénédict à Londres en 1862, fût dans l'origine La PERLE de Killarney, ct non Le Lys de Killarney - vu que la héroïne est repêchée dans la mer après plusieurs plongeons exécutés par l'un des personnages qui dans cette occasion joue le rôle du pêcheur de perle, et non celui du pêcheur de lys."- We understand that in consequence of the identification of the Adelphi Theatre since the prosperous engagement of Mr. and Mrs. Dion Boucicault with a new school of drama, of which Mr. Boucicault is the happy inventor and exponent, and which surprisingly, not to say unexpectedly, combines feats of corporeal agility with nimbleness of inventive wit - the aforesaid establishment is to be called in future, the "Gymnasium." It is also reported that the Lyceum is to be rechristened with the discarded title of the former establishment, and become the newest Adelphi-the dramas produced there being illegitimate brothers of those at the Boucicault-Webstero-Dionisio -Benjaminisio Temple of Thalia. W. S. (Leeds).-Next week. THE ORGAN IN THE GREENOCK TOWN HALL.-Next week. NOTICES. TO ADVERTISERS.-Advertisers are informed, that for the future the Advertising Agency of THE MUSICAL WORLD is established at the Magazine of MESSRS. DUNCAN DAVISON & Co., 244 Regent Street, corner of Little Argyll Street (First Floor). vertisements can be received as late as Three o' Clock P.M., on Fridays-but not later. Payment on delivery. Two lines and under ... ... ... 2s. 6d. 6d. Ad Terms {Every additional 10 words TO PUBLISHERS AND COMPOSERS.-All Music for Review in THE MUSICAL WORLD must henceforward 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. TO CONCERT GIVERS.-No Benefit-Concert, or Musical Performance, except of general interest, unless previously Advertised, can be reported in THE MUSICAL WORLD. The Musical World. LONDON: SATURDAY, FEBRUARY 8, 1862. THE THE musical professors and amateurs of IIanover-in short, the people of Hanover, state and city—are contemplating the erection of a monument to the memory of of so desirable an object. Among other steps may be mentioned the issue of an address, or rather an appeal, to which is appended the honoured name of Joseph Joachim. Subjoined is a translation: :- "The death of Heinrich Marschner, on the 13th inst., has plunged into deep mourning the souls of all those Germans who take an interest in the development of national art. Wherever the news has penetrated, the voice of grateful appreciation has loudly proclaimed that, by Marschner's decease, his Fatherland has lost a man worthy of high honours, a man especially gifted by Heaven, whose creative powers were a source of the most elevated enjoyment for his contemporaries, as they will be for future generations. Wherever in our great country, Germany, art has found a resting place, the song loving folk have been refreshed by the Master's tones, and have drunk with him out of the well of those harmonies, in which he, sharing the griefs and the joys of his fellowcountrymen, has mirrored the inward soul of the nation, enduing it with an artistic form in strains intimately corresponding with its peculiar character. Such creative power in the domain of the Beautiful will the Germans proudly celebrate, as an honour to their name; brass, more lasting than more flecting words, shall perpetuate the fame of the Master, and, with it, that of the nation to which he belonged. To what portion, to what spot of the great Fatherland should an appeal for this purpose be more forcibly addressed than to the Kingdom and the City of Hanover, the second home of the noble Departed One, where he spent his artistic prime, where he produced his greatest works? It is on this account that to the Hanoverians the Undersigned first address themselves to carry out the plan, on which they have agreed, of erecting a monument, in the city of Hanover, to the memory of Heinrich Marschner. But they appeal also to the friends of the Deceased in the more distant parts of their native land to forward the proposed work by their kind contributions. Marschner's heart beat for the whole of Germany; for the whole of Germany his Muse sang; and from it the whole of Germany experienced delight. Let, then, Marschner's monument be an additional and convincing proof of the community of feeling which animates all portions of his native land! THE directors of the Crystal Palace have at length come to the conviction that the construction of the Great Handel Orchestra is unfit for special musical purposes, and that the gravest alterations are imperatively called for, before applying it to further uses- -at least such uses as performscription and limitation around the open space of the ances on a gigantic scale. For the last three years circumorchestra has been mooted and sifted frequently and zealously. Last season great expectations were entertained about the felt awning which, nevertheless, had little or no effect. Now, however, it would appear that the authorities are in downright earnest, since it is officially announced that "the Great Orchestra of the Crystal Palace will be completely roofed in, and other alterations and additions made to the Centre Transept, with a view to the improvement of its acoustic qualities, which will render it no less thoroughly adapted for the performance of music, than it will be unrivalled for the convenient accommodation of numbers." This looks like business, or, more properly, a determination to do something. No doubt the directors are now eager to act. The surest proof of this consists in their acknowledgment of past sins. At the last festival, they own 66 6 to finding out that too much space overhead caused the sound to travel irregularly, so that complex passages in the choral pieces occasionally became confused. A similar result, it seems, was observed at St. Paul's Cathedral, when the Messiah was performed, this time twelvemonth, under the dome. In allusion to the performance at the Cathedral, we are told: Although in a few situations the music was effective, in the greater portion it was so uncertain, from the tone wandering about the lofty dome. and being reverberated below, that great difficulty was experienced in keeping the orchestra together, the experience of the performers being, that they had rarely felt so much difficulty in falling in with the swing' of the orchestra." This is as true with regard to the Central Transept of the Crystal Palace as St. Paul's Cathedral. The remedy is this:-The sides of the orchestra will be about sixty feet high, or nearly as high as the Birmingham Town Hall. The central part of the orchestra will be forty feet higher, or one hundred feet, the undersides will be filled in with tiebracings, lined with well-secured match-boarding, bound closely together "by ingenious appliances, until the whole surface becomes as hard and as resonant as a drum-head." Very good, indeed, and perspicuous, and momentous to the well-being of future Handel Festivals. The directors, nevertheless, taught perhaps by Blondin, must not jump at the conclusion, that "it is unquestionable that this addition to the Great Orchestra will render it as unrivalled for its resonance as it will be unequalled for its capacity, and thus make the Centre Transept of the Crystal Palace unapproachable as a locale for a great choral festival." Let us consider the question in all its bearings, and see how far the directors are justified in arriving at this conclusion. No doubt the closing-in of the orchestra, especially at the sides, will be an immense improvement, and will tend greatly to economise the sound. Will it, however, effect all that is required? Will it distribute the sound equally throughout the Centre Transept, and prevent it from diverging into the aisles? We think not. Let us suppose, for example, that Exeter Hall were walled-in as far as the limits of the orchestra only, and that the rest of the structure was open to the surrounding streets on three side.s It is not difficult to conjecture that, in that condition, for all purposes of hearing, the hall would be comparatively useless. Would not this-with a difference, it must be allowed-be a parallel case with the Great Handel Orchestra of the Crystal Palace, as newly modified and arranged? As far as the orchestra is concerned, the acoustic principles are perfectly carried out. If the boarding be air-tight, not a tone escapes, and the whole volume of sound from band and singers is propelled into the audience part of the building without loss. But directly it issues from the orchestra, no care appears to have been taken to restrict the sound within certain limitations. It is left to roam at large through the vast abysses of the Palace, to wander unheeded through the aisles and interminable galleries, and soar into the vitreous heights without chance of return. This is exactly what must take place. The roofing and side-walls of the orchestra will necessarily increase the volume of sound, and send it with greater force into the body of the building, thereby enabling many more persons to be placed within its focus. But, as before, the sound will reach those who are not well placed feebly and indistinctly, and little or no effect be produced. The four thousand performers to be brought together in June next, will fail to produce on many an effect like that of the seven hundred in Exeter Hall, and once again the directors will have to turn their attention to further improve ments. The remedy, we conceive, is simple enough. Let a space, of which the orchestra may be supposed to form the base, be enclosed on all sides, and roofed over, similar to the orchestra. Two hundred and sixteen feet would then constitute the breadth of the new hall, and the length might be carried to the extreme south front. Surely this would leave an area vast enough for any crowd that might assemble on any occasion. No doubt the expense would be enormous; but, sooner or later, we prognosticate, the directors will be compelled to have recourse to this arrangement-that is, if they are desirous that the performances should keep pace with the requirements of the public, and with expectations held out by the continued enlargement of band and choir. IN N 1809 the then King of Westphalia, Jerome Bonaparte, offered Beethoven an appointment as Kapellmeister to the Court of Cassel, with a salary of 600 ducats. This offer, so honourable for the great musician, caused the Archduke Rudolph, in conjunction with Prince Kinski and the reigning Prince Lobkowitz, Duke of Raudnitz, in order to preserve Beethoven for Austria,' and, if possible, for Vienna, to settle on him an annuity of 4000 florins, on condition of his not leaving the Imperial dominions, except for an appointment which would bring him in at least as much. Beethoven accepted the flattering offer, and remained. Perhaps this was unfortunate for art. The negotiations, however, gave rise to the following characteristic occurrence. Ferdinand Ries, one of the best pianists of the day, was a pupil of Beethoven; and to him, as such, was the offer of the King of Westphalia made, by Kapellmeister Reichardt, after Beethoven had declined to accept it. Ries hastened to Beethoven to talk the matter over. For three entire weeks neither Ries nor his letters could gain admittance. At the expiration of that period, Ries managed to meet the composer at the Redoubt, which Beethoven visited oftener than might have been expected. Ries immediately broached the subject in all the innocence of his heart: but Beethoven replied, in the most cutting tone: "So you think you can fill a post which has been offered to me?" When they subsequently came to an understanding, and Ries had forced his way into the house of his beloved teacher, knocking down in a scuffle the servant who endeavoured to stop him, Beethoven (according to the authority of Ries himself), said: "He had been informed that Ries had tried to obtain the place behind his back." At length, however, Beethoven wanted to atone for an ebullition so unworthy of him; but it was too late, and Ries lost a post which would then have made his fortune. Intercourse with genius is difficult, and for no persons more so than for artistic contemporaries; because genius denies talent, and prefers the life of a hermit, as if it had to punish itself. Of the income settled on Beethoven, the whole of which he was not destined to enjoy quite two years, the Archduke Rudloph paid 1500 florins, Prince Kinski 1800, and Prince Lobkowitz 700. But the Austrian paper-money fell so much, in consequence of the war with Napoleon, that, after the publication of the notorious financial decree of 1811, the annuity settled on Beethoven was, while the figures remained the same, only worth a fifth of its nominal value. Nor did the high Maecenases of art feel themselves called upon to keep up for their protégé the former amount instead of its insignificant shadow upon paper. This would have been an excellent opportunity for persons in so elevated a position to prove their love of art by a sacrifice which, after all, was not very great. But two years had changed everything. every note entrusted to her as Beethoven himself might have done. But still this was not the lady's greatest achievement on Monday night, for a incomparable master's prodigious "Sonata Appassionata," one of the most sublime pieces of musical expression which even he, the wondrous Ton-Dichter, has bequeathed to the world. With due acknowledgment of the enormous difficulties which the solo sonatas, Nos. 101, 106, and 111 present, we must assert our conviction that no work more trying to The death of Prince Kinski, whose veneration for Beethoven did not descend with his property to his indifferent heir, and the bankruptcy of Prince Lobkowitz, compelled much more arduous duty devolved upon her, viz. the execution of the Beethoven to bring an action, in which only 300 florins were awarded him out of Prince Kinski's estate. The Archduke Rudolph now contributed 600 florins more; and this yearly income of 900 florins, or only 600 dollars, was enjoyed by Beethoven to the end of his life. -- It was not until three years before his death, that Mozart obtained a sum of 300 florins, provisionally, out of the private purse of the Emperor Joseph, not, as people then said, as a remuneration, but as the gracious assistance afforded by the sympathising monarch to the most wonderful of musicians. "Yet," adds a commentator: "people talk of Vienna as a temple of art! Aye -a temple with altars, but without sacrifices- the cheapest kind of temple!" The annuity granted by his three Mæcenases-now reduced to two-whose services to Beethoven must not be estimated too highly, since they chose to let the sum drop down to a disappointment of his just hopes, and did not even guarantee one fourth of his just right, this annuity, of which so much has been said, and which was of itself so trivial, Beethoven had to draw every four months. To receive the pittance-which was not a donation or relief, since Beethoven, so to speak, exchanged it for his refusal of the appointment at the Court of Cassel-to receive this annuity, thus qualified, Beethoven required every time a legal certifcate that he was still alive, a certificate which might have been quite as well afforded by his accumulating masterpieces. He generally got one of his acquaintances to procure it. One day he wrote about it to Schindler, in the following words, the meaning of which Schindler had to guess, and which are characteristic of Beethoven's jokingly sarcastic manner : 66 Certificate of life. The fish lives; vidi, parson Romualdus.” MR. HENRY LESLIE'S CHOIR.-We are glad to hear that at the second concert of the season, Bach's Motett for double choir, “I wrestle and pray," will be repeated. The choir will also perform, for the first time, Mendelssohn's eight part psalm, "Why rage fiercely the heathen ?" MISS ELLEN BLISS'S CONCERT, at the Assembly Rooms, Kennington, on Monday last, attracted a numerous auditory. The following artists (with others) assisted:-Mesdames Florence Lancia, Rose Hersee, Laura Baxter, Eyles, &c.; Messrs. G. Perren, T. Young, Lawler, Lewis Thomas, &c. Miss Bliss was loudly applauded in Benedict's "Caledonia," and encores were awarded to Mad. Laura Baxter in Benedict's "By the sad sea waves," Miss Rose Hersce in Balfe's "Power of love," Miss Eyles, Mr. T. Young, and Mr. Lewis Thomas in Mendelssohn's "I'm a roamer." Conductors: Messrs. Emile Berger, Meyer Lutz, and Frank Mori. MONDAY POPULAR CONCERTS.-The instrumental portion of last Monday concert was devoted to the works of Beethoven. It opened with the very fine quartet for bowed instruments, in C major, No. 9, played by Messrs. Sainton, L. Ries, H. Webb, and Paque, and rarely indeed have we heard this great work, decidedly the best known and most popular of Beethoven's later quartets, so worthily rendered. In music of this description M. Sainton has no superior, and his performance, on the present occasion, of the above-mentioned masterpiece, no less than of the beautiful quartet in D major, op. 18, with which the concert terminated, and the equally delightful sonata in E flat, op. 12, for piano and violin, served to sustain his well-won reputation at its highest point. Into "readings" unexceptionably pure and classic, full of respect for the composer, M. Sainton infuses a warmth of individual feeling which shows that he loves, as well as understands, the great music he is called upon to execute; and thus the admirable French violinist's performances are original in manner no less than essentially faithful to the spirit and meaning of his author. M. Sainton was thoroughly well supported in the quartets by his colleagues, Messrs. L. Ries, H. Webb, and Paque; whilst in the sonata he enjoyed the cooperation of the queen of pianists, Miss Arabella Goddard, who gave the executant ever emanated from the soaring genius of the great poet of music than the Sonata Appassionata ;" and, consequently, that although Miss Arabella Goddard has played in public all the so-called "Beethovian Hundreds" over and over again with triumphant success, she never distinguished herself more honourably than on the present occasion, when, with soul-full fingers, she compelled the keys of her piano to utterances which found an echo in every heart, and fairly "popularised" the deep inspirations of the mighty master. The vocalists were Mr. W. Weiss and Miss Banks. Mr. Weiss, who, strange to say, had not been previously heard at the Monday Popular Concerts, was, perhaps for this very reason, received with genuine enthusiasm. The celebrated English basso was recalled with acclamations after his rapturously encored in his second, Schubert's "Wanderer," both of first song, Mr. Macfarren's " When Bacchus invented the bowl," and which he sang to perfection. Miss Banks was also highly successful in the two pieces assigned to her, namely, Dussek's "Now summer has departed," and Henry Smart's "Dawn, gentle flower." Mr. Benedict conducted with his well-known incomparable ability. The hall was crowded.-Morning Post, Feb. 4. SACRED HARMONIC SOCIETY.-After a lapse of rather more than seven years Handel's Deborah has been again presented to the public, and with a success which will warrant its occasional repetition. Second in order of his oratorios (having succeeded Esther in 1733), Deborah has many points of excellence, some of the choruses being worthy of chorus "Immortal Lord of earth and skies," with which the work Handel "at his best." Nothing can be more impressive than the double opens, or than the series depicting the Israelites' departure to battle, "O blast with thy tremendous brow;" "Let thy deeds be glorious;" "Despair all around them," or than the "Hallelujahs" which respectively conclude the first and second parts. These are all stamped with that great Saxon musician. Again, in the second part, "See the proud broadly massive character which is so peculiarly the attribute of the chief;" "O Baal;" "Plead Thy just cause ;" and "The Great King of Kings," are equally individual and effective, the second named producing such an impression as to call forth a most genuine encore. Scarcely less remarkable are the opening and concluding choruses of the third part. Despite an occasional unsteadiness, the choruses were on the whole well sung; but the sopranos, whether from timidity or excess of energy on that of the tenors and basses, appeared weaker than usual. Miss Parepa's clear voice and forcible delivery were heard to advantage in the soprano music throughout; while to Madame Sainton-Dolby must be given the most unqualified praise for her perfectly artistic rendering of the arduous part of Barak, the airs "How lovely," the vigorous and dramatic "All danger disdaining," and "In the battle fame pursuing" (with its organ accompaniment), in particular eliciting that hearty applause to which the Sacred Harmonic Society appears at length to have become reconciled, if we may judge by the omission of the customary edict from the programme. In the part of Sisera, the rich-contralto voice of Madame Laura Baxter told with unmistakeable effect; and so thoroughly was the air "At my feet extended low" appreciated, that nothing short of its repetition would satisfy the audience, who paid a similar (and well merited) compliment to Mr. Thomas in the pathetic air" Tears such as tender fathers shed." The subordinate parts were filled by Mr. Temple, Messrs. Evans and Smythson. The "additional accompaniments' were by Mr. Costa, who directed the performance with his accustomed vigour. WESTBOURNE HALL.-Mad. Albert, the pianist, gave a Concert here on Wednesday, assisted by Mad. Sainton-Dolby and Mr. Wilbye Cooper, singers; Mr. Edward Thomas (violin), and Mr. Pettit (violincell), instrumentalists. Mad. Albert has studied under Professor Sterndale Bennett, Mr. Cipriani Potter, and Mr. W. Dorrell. We believe her instructions are confined at present to the last-named eminent master, to whose teaching, indeed, she does infinite credit. Mad. Albert has a touch at once delicate and firm, and her execution is neat and finished. Her share of the programme on Wednesday night comprised Bennett's Sonata Duo for piano and violoncello, with Mr.Pettit; Beethoven's Sonata, Op. 7; Mozart's Sonata in A for piano and violin, with Mr. Thomas; and Mr. Salaman's "Saltarella." Mad. Albert has evidently a penchant for the classic style, as proved no: only in her programme but her playing. Her success in every piece was undeniable. She played before a fashionable and thoroughly discriminating audience, and was |