loudly applauded at the termination of each of her performances. Mad. Sainton-Dolby pleased immensely. She sang the new ballad, "The Lady of the Lea," Beethoven's "In questa tomba," Virginia Gabriel's "Rest," and Claribel's "Janet's choice." She was encored in the first and last. Mr. Wilbye Cooper was no less successful in his two contributions, the scena "From worldly care," from Mr. Benedict's Undine, and Virginia Gabriel's song, "Wake, my love." Mr. W. Dorrell accompanied all the vocal music. HANOVER SQUARE ROOMS. (From a Correspondent.)- On Friday evening last week, the Rev. E. Cotter, from Ireland, gave some vocal and Instrumental Illustrations for a Lecture on an instrument called by him a Lyrachord, or Harp Pianoforte. The reverend gentleman, who appears to be very enthusiastic about music and musical instruments, has, we understand, occupied a considerable portion of his life in bringing to perfection this instrument; and no doubt he has accomplished, in his own estimation, what every performer has been endeavouring to get rid of, viz., the tone, and that disagreeable plucking of the harp-strings so disagreeable to persons who sit too close to the instrument. One great advantage the Lyrachord has over the harp is that the playing upon a key-board, the performer is enabled to play upon the former in every variety of key with greater ease than upon the latter instrument. The Lecturer was assisted by the performances of Mr. W. C. Filby, and Mr. Gadsby, who at the close of the evening were warmly applauded by, if not a numerous, a highly respectable and attentive auditory. ASSEMBLY ROOMS, EYRE ARMS.- A performance of the Messiah was given at the Assembly Rooms, St. John's Wood, on Thursday evening, in aid of the building and organ funds of St. Paul's Church, Avenue Road, when the following artists gave their gratuitous services: Mad. Ruddersdorff, Miss Annie Walker, Miss Maria Poole, Miss Julia Elton, Miss Lascelles, Mr. Wilbye Cooper, Mr. Fred. Walker, Mr. Charles Mallette, and Mr. Weiss. The band and chorus, consisting of about seventy performers, were selected from the principal societies of London. Signor Randegger wielded the baton in a very masterly manner, and Dr. Chipp accompanied on Evans's English Model Harmonium, manufactured by Boosey & Co., a very fine instrument, an admirable substitute for the organ, with two rows of keys and pedals, which told with great effect, both in the solo and chorus parts, and was a great addition to the performance. The overture was finely executed, and both solo singers and chorus distinguished themselves. The music and air, "Comfort ye," and "Every Valley," was given by Mr. Wilbye Cooper with fine taste and feeling. "Rejoice greatly," by Mad. Ruddersdorff, was one of the special features of the oratorio. The cther points noticeable in the soloists were, "He was despised," by Miss Lascelles, and “Behold darkness," and "Why do the nations," by Mr. Weiss, who sang splendidly. Between the first and second part a new Funeral Anthem in memory of Prince Albert, composed by Signor Randegger, was played by desire. The words are taken from the fourteenth chapter of Revelation, commencing, "An angel came out of the temple." The anthem consists of a recitative, air, and chorus; and is written with the skill and feeling of an experienced and gifted musician. It was on the whole well performed, but would have been all the better for a few extra rehearsals. The room was very full, and we trust the funds for which the concert was given will be benefited thereby. Great credit is due to the conductor and originator of the concert for the admirable manner in which the performance passed off. HAYMARKET THEATRE.-The re-engagement of Mr. Sothern has infused new animation into the Haymarket entertainments. His impersonation of Lord Dundreary in Our American Cousin is acknowledged to be one of those original creations that only take place at distant intervals, and the most curious circumstance with respect to this originality is that he does not appear in any new type of character, but represents a form of human folly that has been caricatured on the stage for something like two centuries without interruption. There has not been a playgoer from the days of Charles II. inclusiɣe, who has not seen the semblance of a drawling fop, and the American farces, which have so frequently been produced during the last few years, and in which one ill result of civilization is invariably placed in disadvantageous contrast to uncouth, uncultivated honesty, have rendered the character more familiar than ever. The position held by Lord Dundreary in the action of Our American Cousin is precisely that which has been occupied over and over again by obscure fops who have been made the butts of Mrs. Barney Williams and Mrs. Florence. But such is the genius of Mr. Sothern that every one who sees him feels that an old type is presented with individual peculiarities that render it a complete novelty. Who ever heard before of a letter read aloud on the stage being encored like a song? Yet it has been the custom nightly to encore Lord Dundreary's letter from his "brother Sam"-an epistle totally unconnected with the plot of the piece-simply on account of HERR ERNST PAUER'S PIANOFORTE CONCERTS. ON Saturday afternoon, at Willis's Rooms, Herr Ernst Pauer gave the first of a series of performances the professed object of which is to trace and illustrate by example the history and progress of pianoforte music from the carliest period up to the present day. This would not be practicable in a single concert, but a tolerable epitome of the most salient characteristics of cach particular epoch may be conveyed in six. A mere course of history is not the only aim of these performances; they are to exemplify the decadence of art as well, and thus act as a warning to contemporary aspirants. The age in which we live, according to Herr Pauer, is one "of decadence ;" and he intends as he proceeds to "show the dangerous point at which we have arrived, and teach us how to guard against the elements of decay"-which elements are somefrequent use of arpeggio effects, combined with the unceasing use of the what vaguely defined as "want of character in composition and the too pedal." To this subordinate feature of his design, it may be presumed, we are indebted for the admission into the programme of certain works of rather questionable merit-as, for instance, the fantasia in C major of Schubert (Op. 15), a composition by no means worthy of that undoubted musical genius. A more rambling and incoherent piece has seldom perplexed the fingers of a " virtuoso " or tormented the ears of an audience. The introduction of a part of Schubert's own song of "The Wanderer" in the midst of it, for the sake of some ineffective variations, less mends the matter than conjures up a vision of "The Wanderer" in a wilderness. What Herr Pauer, in his well gotup analysis, says of the finale in this fantasia viz., that it is "weak and poor in invention," applies with equal force to the entire work, which is quite as thankless as it is difficult to execute. If it had been the intention of the talented pianist to prove that Schubert, though a genius, was at times a bad composer, he would have succeeded triumphantly. The other representatives of the "fourth period" ("from 1820 to the present time "), in Saturday's programme, were MM. Thalberg and Hensclt, both of whom are still living. The specimen of M. Thalberg was his Barcarole, Op. 60; that of M. Henselt his variations on Dulcamara's song in the Elisir d'Amore, Op. 1-the first of which Herr Pauer entitles "a perfect gem," the second "a glorious first work." Henselt, nevertheless, is at the most an humble disciple of Thalberg, and we are at loss to understand what he has had to do with the "progress" of the art of pianoforte composition. Indeed, but for the eulogistic paragraph allotted to himself in general and his "variations" in particular, we should have been justified in concluding that Herr Pauer intended to adduce this composer and his work as further signs of the "decadence" which he laments. On the other hand, no composer that ever existed has made such an exaggerated use of arpeggio effects" as M. Thalberg; and though the Barcarole is as favourable a specimen of his manner as the variations on Dulcamara's air are an unfavourable specimen of the manner of M. Henselt, it still has hardly intrinsic worth enough to figure in a programme the avowed end of which is "instruction." 66 66 To all intents and purposes, these illustrations of the "fourth period " were the least suggestive of any. They may be said to have read a lesson, however, whether intended or not intended. Performed, as they were, on a magnificent concert-grand," with all the modern appliances, a hint was gently conveyed that the probable authors of the decadence" in question are, indirectly, no other than the pianoforte manufacturers. These industrious inventors, by the mechanical perfection to which they have brought their instruments, have enabled a vast number of players and writers to make an imposing display, who, on the old harpsichord, or even on the earlier pianos, would have scarcely succeeded in emerging from the depths of insignificance-besides holding out temptations to more sterling professors of the art to consider the means rather than the end, the manner rather than the matter, and to look to the exhibition of mechanical dexterity and the complex multiplication of mechanical "effects" as the worthier objects of ambition. Herein unquestionably consists the Baal-worship which, in the majority of instances, has brought the art of pianoforte composition to so comparatively low an ebb. Happily a reaction is taking place, and it is but just to add that Herr Pauer has been among its most active promoters-" Schumannism notwithstanding. Happily, too (a consolation to the Broadwoods, Collards, and Erards of the period), the music of the great masters gains much and loses nothing by the recent improvements in "tone and mechanism." It was, therefore, somewhat inconsiderate in Herr Pauer to play the works of Sebastian Bach and his pupils on the old harpsichord of Tschudi (predecessor of the now eminent firm of Broadwood and Sons, by whom the harpsichorp, as well as the three pianofortes used tby the concert-giver, were furnished)-a harpsichord which, though in a remarkable state of preservation (having been manufactured in 1771), was-to say nothing of its being a whole tone lower in pitch-necessarily a mere "tinkler" compared with the modern instruments. And yet as if to show that the music was the thing "for a' that"-the sonata in E flat by Bach (one of a set of three) for "clavichord and flauto traverso," played to perfection by Herr Pauer and Mr. R. S. Pratten, was really the most interesting feature of the concert - worth the three specimens of the "fourth period" "rolled into one." This was the first example of the "second period" (from 1720 to 1780), the other two being a fugue in F major, by Krebs, and a gavotte and fugato by Kirnberger-both pupils of Bach, who used to say with reference to the former, " In meinem Bach habe ich nur einen Krebs gefunden" ("In my brook I have found but one crab "). Krebs--the second of no less than six musicians of that name of whom history makes mention-was Bach's favourite pupil; and yet it can hardly be denied that the fugato of Kirnberger-one of Germany's chief musical theorists -is a far more masterly contrivance than the fugue of Krebs, or, in short, that Kirnberger approaches his great model more closely than Krebs, while imitating his " sequences" and turns of harmony and melody much less slavishly. Krebs and Kirnberger alike found a genial exponent in Herr Pauer, who entered into the spirit of their music, as thoroughly as if he had it himself. The "third period" (from 1780 to 1820) was represented by Mozart, Müller, and Hummel. The contribution of Mozart, the fantasia in C minor dedicated to his wife (Constance Weber) - a piece as orderly as that of Schubert is disorderly was by many degrees the best of the three; and so, indeed, Herr Pauer, by the pains he bestowed on its performance, seemed to feel. This, in its way, was quite as delightful as Bach's sonata. Hummel was by no means favourably represented by his " Sonata-fantasia in F sharp minor, and the less so, inasmuch as the first and best movement was omitted, Herr Pauer confining It will have been noticed that all the composers who contributed to Saturday's programme were Germans, from which we may presume that Herr Pauer intends separating the German school systematically from the Italian and the French. Whether this arrangement can be rendered invariably amenable to historical precision, bearing in mind that Scarlatti and Clementi, among the Italians (the last especially), exercised a marked influence on the progress of the art in Germany we are not prepared to say; but, no matter under what synoptical distribution, the Chronological Concerts will hardly fail to attract the attention of amateurs of the pianoforte, as an experiment combining novelty with uncommon attraction. We may add that, in connection with these performances, Herr Pauer has published and circulated a sort of chronological map (or "tree") of pianoforte composers. This, in the German and Italian departments (the German more particularly), is remarkably comprehensive; in the French occasionally incomplete; and in the English singularly defective as instances of which we may adduce the fact that, while the name of "Jonathan Blewitt" figures in the list, that of George Frederick Pinto is omitted, and that while Robert Schumann is exhibited in "capitals" equivalent to those accorded to Mendelssohn, Sterndale Bennett, with whom -as a composer for the piano at all events- Schumann is not to be compared, is condemned, among a host of mediocritics, to the obscurity of "small type." Where instruction is contemplated exactitude becomes "a great matter."Times. DANTZIC.--Herr Rubinstein's oratorio, Die Zerstörung Jerusalem's will be performed early in February. Letters to the Editor. HER MAJESTY'S THEATRE. OXONIAN, a constant subscriber, is most anxious to know what is to be the fate of Her Majesty's Theatre in the coming season. Is there He read with great pleasure an excellent article in the MUSICAL WORLD any truth in the report that Mr. Gye is negotiating to keep it closed? a few weeks ago, advocating the return of Mr. Lumley, and hopes to see something conclusive on the subject of the reopening of the Opera in next Saturday's number. [All we can say, in answer to our correspondent is, that nothing whatever is yet settled in respect to Her Majesty's Theatre.-ED.] THE GREAT ORGAN AT LEEDS. SIR,-Will you permit me to state that the article which you inserted in your columns last week on the Great Organ at Leeds was copied from the Manchester Courier, for which Journal, I am informed, the usual talented musical contributor had written the account, after having made a special visit to Leeds for the purpose of hearing the organ in its complete and finished state. It is necessary that its source should be known; otherwise, some remarks applying only to the City of Manchester cannot be properly understood. Will you allow me at the same time to correct what I take to be some misprints in the original article. afternoons, at the almost nominal charge of threepence," it should have 1. Instead of stating that the performances are given "on Monday been Tuesday afternoons, at the nominal charge of threepence and sixpence. 2. Instead of the absurd notions about high scales and duplicates," it should, I apprehend, have been "huge scales." 3. Instead of "85 sounding stops at Leeds," it should be 87; and, I may add that, with the combination solo organ stops, the coupling, composition, and other stops and pedals for various movements, the total number at the command of the organist, is no less than 119. Leeds, Feb. 7th, 1862 LEDSEER. GOD BLESS OUR WIDOWED QUEEN. A National Prayer. Words by W. THREE HUNDRED and TWENTY-SECOND EDITION.— HAMILTON'S UNRIVALLED PIANOFORTE TUTOR, 70 Pages, 4s.-The publishers, ROBERT Cocks and Co., beg their friends and the trade to favour them with their orders eight or ten days in advance, as, in consequence of the immense demand for this work, a difficulty is constantly found in supplying it promptly to order. THREE HUNDRED and TWENTY-SECOND EDITION-HAMILTON'S MODERN INSTRUCTIONS FOR PIANO. Enlarged by CZERNY. 70 Pages, from extra large engraved plates. "Imitated by all, equalled by none." HAMILTON'S MODERN INSTRUCTIONS FOR SINGING. 20th Edition. 5s. 4s. HAMILTON'S DICTIONARY of 3,500 TERMS. By JOHN BISHOP. 66th Edi tion. Is. CLERKE'S CATECHISM of the RUDIMENTS of MUSIC. 70th Edition. 1s. NEW PIANOFORTES for all classes, from £18 to £42, 67-8ths octaves. All are warranted. Catalogues and Price Lists gratis, and post-free. London: ROBERT COCKS and Co., New Burlington Street, W., and 4 Hanover Square, W.; and of all Musicsellers. Other Arrangements in the Press. London: ADDISON, HOLLIER and LUCAS, 210 Regent Street. EVANS'S ENGLISH HARMONIUMS for Cottages, made in every possible variety at prices from 6 to 140 guineas. The Manufacturers have to announce the complete success of a New Patent Self-Acting Blowing Machine, the only self-acting blower that has ever succeeded, which may be seen in operation at Holles Street daily. The most distinguished living musicians, including Balfe, Sterndale Bennett, Cipri ani Potter, Best, Henry Sinart, &c., have testified to the extraordinary merits of Evans's Harmoniums. See testimonials attached to Illustrated Catalogues of Harmoniums, to be had gratis of the Manufacturers, BOOSEY and CHING, 24 Holles Street, London. EVANS'S ENGLISH MODEL HARMONIUM, with VANS'S ENGLISH MODEL HARMONIUM, with combines every modern improvement. The most beautiful and varied orchestral effects can be produced upon this instrument, which possesses every gradation of tone from the greatest power to the most delicate piano pieces. The English Model Harmonium is managed with that facility which characterises all Evans's Harmoniums, and is equally effective both in the drawing room and church. BOOSEY and CHING, Manufacturers, 24 Holles Street, London, W. EVANS'S PEDAL HARMONIUMS, with independent Pedal Reeds, can be had either with a single or double row of keys, at prices from £51 to 130 Guineas; also with the new patent self-acting blowing machine. BOOSEY and CHING, Manufacturers, 24 Holles Street, London, W. CHAPPELL'S SECOND ALBUM DE DANSE For the Pianoforte; containing Quadrilles, Valses, Polkas, Galops, Schottisches, Varsovianas, Polkas, Mazurkas, Redowas, and French Country Dances. Price 4s. bound, with gilt edges. N.B. The two Albums de Danse comprise a complete collection of all Music requisite for the Ball-room. CHAPPELL'S CHRISTY MINSTREL ALBUM, Containing 52 Songs, with Choruses and Pianoforte Accompaniment. N.B. This collection alone contains various popular Songs, including "I'm leaving thee in sorrow, Annie," " Friends of my Youth," "I'm returning to thee, Annie," "Rosaline," &c. Price 4s. bound, with gilt edges. CHAPPELL'S SACRED VOCAL ALBUM Contains 36 Songs and Duets, by Handel, Barnett, Glover, the Hon. CHAPPELL'S ITALIAN SONG BOOK, Containing 32 Italian and German Songs, by Verdi, Mozart, Flotow, LONDON: CHAPPELL AND CO., 50 NEW BOND STREET. "THE LOVE YOU'VE SLIGHTED." Ballad. Sung by Mlle. JENNY BAUR "LOVE IS A GENTLE THING." Ballad. Sung by Miss EMMA HEYWOOD ... 2s. 6d. ... 2s. 6d. "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 us. ... ... ... ... ... 2s. 6d. 2s. 6d. by Herr FORMES 3s. Od. "Last week we mentioned the successful production of this operetta at Drury Lane, and spoke with just commendation of Mr. Glover's music. The most favourite pieces have been published, and are now before Their perusal strengthens the agreeable impression we received from their performance on the stage. The love you've slighted still is true,' sung by Mlle. Baur in the character of the heroine, is a very pathetic song; we have seldom found so much melody and expression conveyed by a few simple notes; while, simple as these notes are, they derive novelty and interest from the very happy modulations in the second part of the air. Love is a gentle thing' is a lighter and more lively strain, but of the same simple and natural character-a character which pervades all Mr. Glover's music, and gives it a peculiar charm seldom possessed by the most elaborate productions of the art. It is a charm, indeed, which is the effect of consummate art. It is a mistake to suppose that it is easy to write simple music. Ah!' said Carissimi, the most melodious of the old Italian masters-'Ah, guesto facile, quanto è difficile!' In this difficult facility Mr. Glover is not excelled by any melodist of the day. A young and artless maiden' is a romance for the tenor voice, full of tenderness and passion. In the concert-room or private circle this little romance will always be charming. The monks were jolly boys' is a good comic song, which Formes sings with considerable humour. There is something amusing in the mock solemnity of some of the passages; and several of the progressions of harmony have an antique quaintness which is pleasant. These songs are worthy of the author of Ruy Blas, one of the best works of the modern English school." The Press. "Mr. Glover's operetta is a decided, and, what is better, a legitimate, 'hit.' The songs before us have already attained a well-merited popularity. The monks were jolly boys' is as racy as the best of the old English ditties, harmonised with equal quaintness and skill, and thoroughly well suited to the voice of Herr Formes. The love you've slighted still is true' (for Mlle. Jenny Baur) has a melody of charming freshness. Not less a model ballad in its way is A young and artless maiden' (for Herr Reichardt), which sets out with an elegantly melodious phrase. Perhaps more to our liking, however, than any of the foregoing, excellent and genuine as they are, is Love is a gentle thing' (for Miss Emma Heywood), which enters the more refined regions of the ballad-school, and attains an expression as true as it is graceful. The opening holds out a promise which the sequel entirely fulfils. We shall look with real interest for the remaining pieces of Once too often." -Musical World. I NAVIGANTI (The Mariners). BY ALBERTO RANDEGGER. This popular Trio (for soprano, tenor and bass) sung by Miss Anna Whitty, Mr. Tennant and Herr Formes, on their tour through the provinces, and by Madame Rudersdorff, Mr. Topham, and Mr. Weiss at the Cork Festival is published, price 4s. by DUNCAN DAVISON & Co. "In the composition of this unaffected and graceful trio (which is inscribed to those excellent professors of the vocal art, Sig. and Mad. Ferrari), Mr. Randegger has shown not only the melodic gift, and the knowledge of how to write effectively for voices, but a thorough proficiency in the art of combination, and, as it were, a dramatic spirit, which might win favour for an opera from his pen. Each voice (tenor, basso, and soprano), in the order in which they enter, has an effective solo, followed by an ensemble (or 'tutti') for the three voices in the major key (the trio begins in C minor), the whole terminating with a coda, sotto voce,' the effect of which, if smoothly rendered by three good singers, must be as charming as it is new. The more of such "terzettinos' the better."- Musical World. THE VOICE AND SINGING (THE FORMATION AND CULTIVATION OF THE VOICE FOR SINGING), By ADOLFO FERRARI HEN this book first appeared we foretold its success ; our conviction being founded on the author's freedom from conventional trammels, the strong good sense of his opinions, the novelty and yet evident soundness of his precepts, and the conciseness and practical value of his examples and exercises, of which every note is dictated by a clear and definite purpose. The influence of Signor Ferrari's method of forming and cultivating the voice, as it is explained in this treatise, is enhanced by the efficacy of his personal lessons in his practice as one of the most eminent teachers of the day; and this work has consequently come into general use as a manual of vocal instruction, not only in the metropolis but throughout the kingdom. In this new edition the author has made various important additions to the work, especially to the Exercises. Formerly they were confined to soprano or tenor voices; exercises for the one voice being also available for the other. But, for the contralto, or the barytone, provision was not made. This desideratum is now supplied, partly by means of entirely new exercises, partly by giving the old exercises likewise in transposed keys, and partly by adapting the soprano exercises also to the contralto or barytone, by the insertion of alternative passages in small notes. By these means the utility of the work is very greatly increased. We have said that the remarkable qualities of this book are the author's freedom from conventional trammels, the strong sense of his opinions, and the novelty yet evident soundness of his precepts; and this we will show by quoting, unconnectedly, a few passages which cannot fail to strike every reader. "Voices are too often ruined by giving pupils difficult songs, in order to gratify their vanity or that of their friends, before they have acquired the power of sustaining the voice, throughout its natural extent, with a firm and clear intonation. When it is recollected that it has taken years of application and study to enable professional singers to execute properly the songs we are accustomed to hear attempted by almost every young lady who is requested to sing in a drawing-room, the absurdity of the prevailing system becomes self-evident. "I strenuously advise all who wish to sing not to defer the commencement of this study, as is generally the case, till the pupil arrives at the age of 17 or 18, by which time young ladies ought to be good singers, but to commence early, at about 13 or 14 years of age, and resisting the gratification of singing a number of songs for the amusement of their friends (the word may be taken in more senses than one), to devote sufficient time to what may be termed the drudgery of singing, so as to enable them to acquire the power of sustaining the voice, easily to themselves and agreeably to the air. "Many young ladies now-a-days speak habitually in a feigned voice. Here lies the greatest difficulty in teaching, or practising singing; for should neither the pupil nor master know the real tone of the voice, the more carnestly they work together the sooner the voice deteriorates. In my experience I have found this difficulty most easily overcome by making the pupil read any sentence in a deep tone, as though in earnest conversation, beginning two or three notes below what they consider their lowest notes; but, as the lower and richer tones of the voice are generally objectionable to young singers, all of whom are ambitious to sing high, it requires much firmness and some coaxing on the part of the master to get the pupil to submit to this exercise. I cannot advise too strongly the greatest attention to the free and natural development of the lower tones of the voice: it is to the stability of the voice what a deep foundation is to the building of a house. "In conclusion, I must add a few words on a subject of great im portance to the pupil who makes singing a study. I mean the spirit in which instruction is received. Every emotion of the mind affects the voice immediately; therefore it is of the utmost importance that the pupil should receive the lesson with the mind entirely unpreoccupied by other matters, and in a perfect spirit of willing submission to the teacher's corrections, however frequent, and however unimportant they may appear; for it is simply by the constant correction of little nothings that beauty of intonation and elegance of singing are obtained."-Daily News. London: Published, price 12s., by DUNCAN DAVISON & CO., 244 Regent Street, W. MESSRS. CRAMER, BEALE AND WOOD'S NEW PUBLICATIONS. HELLER, STEPHEN. Deuxième Canzonette. Price 4s. CRAMER, BEALE and WOOD, 201 Regent Street, W. ASHDOWN & PARRY'S Pianoforte. APOLEON, ARTHUR. Andante Finale, from Lucia RIVIERES OCTOROON QUADRILLES, played NAF di Lammermoor, Op. 2. Price 3s. 6d. CRAMER, BEALE and WOOD, 201 Regent Street, W. NAPOLEON, A. Grand Galop de Concert. CRAMER, BEALE and WOOD, 201 Regent Street, W. Price 4s. STANLEY, G. Ditto. nightly at the Theatre Royal, Adelphi, under the direction of the Composer. This is the only set on the airs of Louisiana, introduced by Mr. DION BOUCICAULT in the Drama. Price 3s. SY ordinary success. ASHDOWN and PARRY, 18 Hanover Square. YDNEY SMITH.-La Harpe Eolienne. Played by the JUI J Verdi's Un Ballo in Maschera. Price 3s. ASHDOWN & PARRY, 18 Hanover Square. ULES BRISSAC.-Dixey's Land. Price 3s. ASHDOWN & PARRY, 18 Hanover Square. RICARDO LINTER.-Tally Ho! Fantasia (à la chasse). Price 3s. Price 3s. ASHDOWN & PARRY, 18 Hanover Square. DOUARD DE PARIS.-Mezzanotte. Fantasia on the favourite quartett from Flotow's opera Martha. Price 4s. ASHDOWN & PARRY, 18 Hanover Square. ENRI ROUBIER.-Esilda. Fantaisie-Polka de Salon, Price 4s. HEN Price 3s. Summer Rambles Waltzes. Price 4s. CROAL, G. Old England Quadrille (illustrated). HENRI ROUBIER. Vaillance. Morceau Militaire. |