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To
O FLUTE PLAYERS.-"These arrangements are ex-
cellently done; familiar, yet sparkling and brilliant, so that any Flute-player
of moderate ability may accomplish them, and have at the same time the credit of
accomplishing somewhat difficult pieces. This is the true art of arranging music,
and if the Flute has not lost all its popularity through the absurd changes in the
fingering, these arrangements will have a large circulation."-News of the World.
BOOSEY'S REPERTOIRE FOR FLUTE AND PIANO, containing selections
from the best operas and other modern music, arranged by J. ČLINTON, W.
FORDE, etc.

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3. The Musical Doings of the past year.

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1855.

4. Complete List of Music published throughout the Kingdom between 1st of January and 31st December, 1854.

5. Names of Professors, Music-sellers, and Musical Instrument Manufacturers, throughout the Kingdom, with their Addresses, &c.

Rudall, Rose, Carte, and Co., 100, New Bond-street, and 20, Charing Cross.

4. THE VILLAGE BLACKSMITH.-The words by

BELLINI
GOLLMICK 38.

BELLINI 3s.
38.

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Also, in One Volume, price 12s., elegantly bonnd, BOOSEY'S FLUTE JOURNAL, containing 250 Melodies for the Flute, chosen from the modern Operas, Dances, Songs, etc. Boosey and Sons, 28, Holles Street, Oxford Street.

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The merit of this song is shown by its sale being the largest of the day. Price 25., post-free. B. Williams, 11, Paternoster-row.

SONGS IN THE Ne and Pianoforte.

ONGS IN THE NIGHT.-Job. ch. 35, v. 10.-Six The music by Mendelssohn, Weber, Dr. Callcott, &c. The poetry by Bishop Heber, James Montgomery, &c. Edited and arranged by W. Hutchins Callcott. Price 7s. A suitable gift for the present times. Addison and Hollier, 210, Regent-street.

LONGFELLOW. The music composed and sung by W. H. WEISS. Messrs, Cramer, Beale, and Co., 201, Regent-street; and Messrs. Addison and Hollier. 210, Regent-street.

THE

HE CONCERTINA MISCELLANY.-Just Published, price 2s. 6d., the second number of the Concertina Miscellany, a new periodical of Popular Music for Concertina Solo, and Concertina and Pianoforte. To be continued every month. Subscription, per annum, 21s., or postage free, 278. The number for February contains a Selection from the Creation, (Concertina and Piano, concertante), by GEORGE CASE.-Boosey and Sons, 28, Holles-street.

CAS

ASE'S CONCERTINAS, manufactured under the personal superintendence of MR. GEORGE CASE, the eminent professor, whose talent and energies have been devoted so many years to the improvement of this instrument. Prices from £4 48. to £12 12s, each. Case's Four Guinea Concertinas are intended to supersede the imperfect cheap Concertinas which, being made with only half the proper number of notes, are really worthless as musical instruments. A post-office order for £4 4s., will ensure the delivery of a Concertina in a handsome mahogany case, carriage free to any part of England. Residents in London are respectfully requested to call between the hours of Three and Four, when Mr. Case attends to try over Concertinas and music. Boosey and

GOTHIC
OTHIC HARPS, Double-action, with every improve- Sons, sole dealers in Case's Concertinas, 28, Holles-street.

Haarnack, Harp Maker, 35, Berners-street, Oxford-street. Harps repaired, re-
decorated, strung, and regulated at moderate prices. N.B.-32 years experience in
Harps.

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TMPROVED SYSTEM OF PENMANSHIP, by MR.

MARTER, at the Writing Institution, 93, Farringdon-street, Fleet-street, City.Persons of any age (however bad their writing) can, by taking Eight Lessons, speedily acquire an expeditious and well-formed style of Penmanship, adapted either to business, professional pursuits, or private correspondence, at 18. 6d. per Lesson, or the Course of Eight Lessons for 10s. 6d. Arithmetic and Book-keeping practically taught in all its branches. Short-hand taught in a few lessons. Separate Rooms for Ladies. Prospectuses to be had at the Institution.

LOWLY AND SOFTLY MUSIC SHOULD FLOW, and ALBINOLO'S OINTMENT having been forwarded by

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the Army Medical Board to the Hospital at Scutari, the Proprietor of this invaluable discovery having been severely wounded, and cured with this ointment 48 years ago, at the battle of Jena, will present every soldier going to the seat of war with a box to dress his wounds or sores, as a token of sympathy for his sufferings.-Apply, 29, Marylebone-street, Regent-street.

In Pots, duty included, 1s. 14d., 2s. 9d., 4s. 6d., 11s., 228., and 33s.

On the 22nd November, I delivered eight large tin boxes, containing together 200lbs., to Dr. Andrew Smith, Director to the Army Medical Board, to send them to the Army in the Crimea.

HOLLOWAY'S PILLS a sure remedy for Indigestion

OLLMICK'S CHANSON À BOIRE.-"Lively and frequent attacks of bile and indigestion, particularly after indulging freely

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original, full of true Bacchanal spirit, yet free from coarseness and common place."-Liverpool Mail. Price 38. Also by Herr Gollmick, Europa" Galop de Concert. Second edition. Price, 2s. Boosey and Sons, 28, Holles-street.

E RÊVE DU PASSÉ-Romance sans Paroles, pour LE REVE DU PASSE. Romance sans Paroles, pour

Oxford-street. Price 48. "This is a very charming composition, just suited for a morceau du salon, elegant in style and full of spirit and expression. We need give no higher recommendation than that it is in every respect worthy to be the production of a lady so high in the profession as Mde. de Belleville Oury."-Brighton

Herald.

M. PRUDENTS' LAfrequently at the Author's concerts, always re

CHASSE.-This favourite com

ceived an encore. Extracts from the Press.-"An exceedingly effective descriptive piece of music, fresh, quaint, racy, and full of local colouring."-Chronicle. A composition of great merit and originality."-Times. "A most tuneable piece full of gay spirit."-Athenæum. Boosey and Sons, 28, Holles-street.

Bile, and disordered Stomachs.-Mr. Patrick O'Brien, of Newtownards, had in the luxuries of the table. His appetite was good, but his digestion weak, which obliged him to have recourse to medicine as oft-changed as told, for he seldom obtained more than temporary relief, relapsing again into the same unpleasantness. Holloway's Pills were recommended to him after all, and it is quite indiscriminately, without fear of suffering from his former ailments.-Sold by all astonishing to see the benefit he has derived from them, as he can now eat

Vendors of Medicine, and at Professor Holloway's Establishment, 244, Strand,
London; and 80, Maiden-lane, New York.

Published by JOHN BOOSEY, of 27, Notting Hill Square, in the parish of Kensington,
at the office of BOOSEY & SONS, 28, Holles-street. Sold also by REED, 15, John-
street, Great Portland-street; ALLEN, Warwick-lane; VICKERS, Holywell-street;
KEITH, PROWSE, and Co., 48, Cheapside; G. SCHEURMANN, 86, Newgate-street;
HARRY MAY, 11, Holborn-bars. Agents for Scotland, PATERSON AND SONS,
Edinburgh; for Ireland, H. BUSSELL, Dublin; and all Music-sellers.

Printed by WILLIAM SPENCER JOHNSON, "Nassau Steam Press," 60, St. Martin's
Lane, in the Parish of St. Martin's in the Fields, in the County of Middlesex.

SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order, to BOOSEY & SONS, 28, Holles Street, Cavendish Square.

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REACTIONARY LETTERS.

No. VIII.

(Continued from page 114.)

PRICE 4d.
STAMPED 5d.

history to hold its ground. In order to move large masses, more strings must be struck, so that each individual may be touched in the feeling peculiar to himself. In opposition to this, many persons eagerly assert that in one work of art only AFTER hearing Lohengrin, Wagner's latest opera, we feel inone sensation, but in all its varieties of light and shade, must be clined to say: Wa Vagner is beautiful-as beautiful as a Madonna, given, and that even the programme of a concert should be only a weeping Madonna." The notes form a lake of tears, in marked by this unity of sentiment. They do not see or hear, alwhich there are but very few currents that do not contain salt- though there lies before them a form which has been recognized water-far too few to quench the thirst of a healthy stomach. for nearly a hundred years, and which has never been altered It is true that the work in question possesses a certain unity, except with disadvantage-I mean the Symphony. If, in the and is more finished and perfect than Wagner's earlier compo- programme of a concert, a light, gay piece follows a serious one, sitions; but the unity consists of grief and groanings, and too certain cracked-brain critics cry out: "What arrangement !”much grief is-wearisome. A little is very agreeable, and, in yet they are contented with a scherzo after the dead march in fact, highly interesting; but the eyes must be allowed to smile Beethoven's Eroica-they are contented with the same thing in again, and the tears be kissed away. If they are continually every symphony, in every quartet, in every sonata, whatever its trickling, they will tire out the most zealous admirer. We feel character. After Beethoven, they are contented with Mozart, inclined to prophecy for this opera the fate of Spohr's Jessonda. and after Mozart, with Haydn, and yet Beethoven is a colossal Jessonda is respected, loved, and set up as a model in various rock of granite, Mozart a smiling mead, and Haydn a goodways; but people do not want to hear her too frequently-they natured ploughboy. They are contented with all this, not because are willing to hear her now and then, as a kind of Lenten fare, their understanding reaches far enough to enable them to conbut she never took her place among stock operas. Spohr is one-ceive the manifoldness of human nature, and the necessity for sided, and, up to the present moment, Wagner is so, too; if, change of feeling, but because they do not dare to attack the however, he succeeds in his newest work, Die Niebelungen, he combination of these masters, who are declared by the initiated will be so no longer, and we are very much mistaken if the to be classical. The form: Allegro, Adagio, Scherzo, and Finale music does not make its way, for the text contains a mass of the contains a deep meaning, which Mozart turned to good account most varied sensations, including humour, in which eminent in his operas. After any excitement of the passions, like minds love to indulge. that produced by Donna Anna, in the soul of the hearer, repose is necessary, and we find it in the humourous Don Juan, who is superior to sentimental love; in the apparently thick-headed, but, in reality, exceedingly sharp Leporello; in the easy-going, good-natured Masseto; and in the amiable and coquettish Zerlina.

For the study of genius there is only one book, and that is Nature. As long as a man draws upon his own resources-I mean as long he has to do with the insignificant inheritance that he calls his heart, his soul-he will be one-sided. It is not until he has used up the small capital given him as his own property; not until he has vigorously extended his two arms into the world, and made himself master of the ice-mountains and blooming meadows, the angry sea and the clear stream as smooth as a mirror, the majestic repose of the primitive forest, and the tender silence of a rose-arbour, with all its inhabitants, from the heavenstorming giants down to the pretty-teazing elves, and learnt how to govern the whole with a hand of iron-it is not until then that he will be capable of creating that towards which Time will stretch its destroying claws in vain.

Tannhäuser and Lohengrin are as yet little Wagner, delicately elegant, always bewristbanded and begloved, who will hear nothing about understanding in love, if the latter is only in other respects piquant-practically wonderful. In the Niebelungen he has entirely got rid of this carefully frizzled individual, and love seems overcome; at least the sorrowing-tearful kind of love. Dwarfs and gods joke with one another. That this will be a work for the sentimental manner of viewing things that certain critics patronize, I doubt, as well as that this or that individual would re-write his opera à la Niebelungen, in order to vault, all booted and spurred, upon the "more elevated point of

view."

Wagner has found out the trace of the great secret, suspected only by a few, and discovered by still fewer, namely: To create works whose effect comes up to the expectations formed of them. -The most recent style of sentimentality, and, with it, chiefmaster Spohr, is forgotten-has become old, like the Vicar of Wakefield. However noble the train of sentiment of Else and her knight, it contains far too insignificant an amount of world

The opera would long since have disappeared from the repertory, if we had had only Anna, Elvira, Ottavio, and the old Commander. It cannot be denied that the best and greatest portion of the opera is what the characters just named have to sing, but monotony would long since have killed them. Meyerbeer, also, has discovered the great secret, and exerted his best energies to put it into practice. In the Huguenots and Robert there are a great many fine and successful parts, but they do not seem to be yet so intimately connected with his inward soul as is the case with Mozart, and we sometimes feel something which appears as if it ought not to be where it is, or as if it did not belong to the style; something, at least, so it strikes us, as if written merely out of a wish to oblige; something which seems to occupy the place it does only to afford some fair vocalist an opportunity of displaying her skill in this or that particular;-and we will confess, or Meyerbeer will, that this is the reason why not a few of his operas has been so often repeated.

This is especially evident in Robert, in the part of the Princess. In the Huguenots the humour is more intimately connected with the whole, the first act being particularly masterly in this respect. Meyerbeer has admirably dramatised his thoughts here. Like the French, he is of opinion that: "Un choix de pensées ne peut être que du nectar ou de l'opium, ou l'un et l'autre.”

ROYAL ITALIAN OPERA.-It is believed that this establishment will open for the present season on the 10th of April. We do not, however, vouch for the correctness of this.

ORGAN.

MAGDALEN COLLEGE CHAPEL, OXFORD. This organ, lately completed by Messrs. Gray and Davison, has been several times exhibited at their manufactory with perfect success. As it will very shortly be removed to its destined site in the Chapel of Magdalen Coliege, Oxford, and is, in several respects, a remarkable instrument, something more than a mere record of its existence may, perhaps, be acceptable to our readers. To begin with, then, we subjoin a list of its registers :

Four complete Manuals, from CC 8 feet to F in alt, the swell throughout, the Pedal Organ, two octaves and a fourth, from CCC 16 feet to F. The following are the stops in this instrument:

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4-feet
2-feet
8-feet

16-feet
8-feet

The first constructive peculiarity we notice about this instrument is the fourth manual, or "Solo Organ." It is placed above the swell manual, and commands a Flute Harmonique of eight feet, down to tenor C, and a Tromba of eight feet, extending throughout the compass of the key-board. The sound-boards of this manual are placed near the front, and at the top of the organ case. The pipes of the Tromba, completely in view, project horizontally over the cornice at the front and sides of the case, and above these again rise perpendicularly the tubes of the Flute Harmonique, yielding, in the catenarian curve formed by their extremities, an elegant finish to the contour of the design. Appearance, however, is by no means the chief object of this arrangement. Both these stops-and each appropriately in its kind-gain immensely in effect by the lofty and unscreened position assigned to them. The delicious qualities of the Flute Harmonique we have often referred to. Messrs. Gray and Davison were the first builders in England who attempted the making of this stop, and have yet remained by far the most successful: the present instance makes no exception to their claims in this respect. The Tromba is a powerful reed of the "Tuba" species, blown with six inches pressure of wind;-a limited force, certainly, for stops of this description, but selected, with great judgment, we think, as 4-feet sufficient in reference to the general size of the organ and the 2-feet requirements of the building in which it is to be heard. 3-ranks This is the first stop of the kind made by Messrs. Gray and 8-feet Davison, and does infinite credit to the skill of its voicer. It is 8-feet very powerful, its quality is, throughout, pure, rich, and brilliant, 4-feet and it affords, perhaps, especially in the upper part of its compass, the best imitation of the orchestral trumpet we have heard. Under clever management, surprising effects are producible with this tromba. The force of its tone enables it to penetrate with perfect clearness through the whole volume of the Great Organ, even when thrice-coupled to the swell, and yet its power is always truly musical. It would be a great improvement, we conceive, on another occasion, to give the performer a control in modifying the energy of its tone by means of some application of the Venetian swell. Nothing else, in short, is wanted to make this stop an unexceptionable substitute in all cases of obbligato accompaniment, for the orchestral trumpet.

8-feet

8-feet

8-feet

Great Manual to Pedals.
8-feet Choir Manual to Pedals.
8-feet Choir Sub Octave to Great Manual.
8-feet Swell to Great Sub Octave.
8-feet Swell to Great Super Octave.
4-feet Solo to Swell Manual.

Other very noticeable peculiarities in the structure of this instrument are, first, an arrangement in the great organ soundboards, by which all the upper half of the compass in the fluework, as well as in the reeds, is supplied with a slightly increased air-pressure. We have repeatedly pointed out the value of this application, and are glad to find it here adopted. Its object is to ensure a more even balance of force between the trebles and basses, and, in the present instance, the correctness of the principle is well demonstrated. Second, the introduction of the super and sub-octave couplers between the swell and great organ, which were first applied by Messrs. Gray and Davison to the organ of St. Luke's, Old-street, and by means of which such exnecessitated by the number of couplers-the pneumatic apparatus to the great organ touch; every fresh experiment with which more clearly shows the beauty of the invention, and its paramount utility in all large or mechanically complicated instruments.

A mere inspection of this scheme will convince any one acquainted with the subject that the Magdalen Organ, though by no means what, in these days, can be called a very large, is a singularly complete instrument. Indeed, it would be difficult to mention another organ of which the comparatively small contents are made to go so far, or in which, as limited a number of registers place, by judicious contrivance, an equal amount of effect in the hands of the solo-performer. The only serious omission-and a very strange one it is-seems to be the absence of any sixteen-feet register on the great-organ manual. As, in London, at least, the sixteen-feet stop has long been recognized an essential component of the character of tone required for a great-organ-at least, in instruments of any pre-traordinary effects of combination are producible; and third, tension to magnitude, we presume that in omitting it, in this case, the organ-builders simply followed their instructions. In some of the quiet spots in England, where learning and progress do not always mean the same thing, the organs of Father Smith and Greene still reign supreme as models of effect. What our forefathers did, that must their posterity do. There is a sort of pious horror of a "double diapason." We hear all sorts of things alleged against it. It is offensive to the ear, and it makes all manner of breaches in musical grammar, which are, doubtless, more distressingly felt at the seats of learning than elsewhere.. Nevertheless and ears and grammar and everything else to the contrary notwithstanding, (perhaps, our Continental neighbours may chance to be quite as sensitive on these points as any one else)-we caution the objectors that they will never make a fine great organ without this dreaded stop. We mention the omission merely on the score of effect. So far as power and magnitude are concerned, the instrument is abundantly enough for the building in which it is to be heard :-indeed, it is highly probable that, when placed in situ, a very judicious style of management may be expedient if its tones are to be kept on the agreeable side of sufficience.

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The general nature of the mechanical arrangements and the distribution of the work are not fairly discussable points, since they were manifestly dictated to the builders by circumstances superior to all discretion in the matter. There is, perhaps, not another organ in existence in which so much work and of such varied description is enclosed within the same number of cubic feet. The case is now four feet wider than that of the original organ, yet, notwithstanding the increased space, the interior is a mass and jumble of material through which the eye with difficulty penetrates, and into which bodily entrance seems all but impossible. Now, although under such circumstances, it is highly creditable to the builders to find room for the speech of pipes and just action of machinery, the whole thing is, we submit, a great mistake. People who employ architects first, and organ-builders afterwards, and expect master-pieces from the hands of both, should take care that fair-play is administered to each in the progress of his work. We hear a vast fuss made about

piscina, sedilia, credence-tables, rood-screens, and other trumpery, of which neither the names nor uses find mention in the prayerbook, and which cannot be of the slightest service to any one either here or hereafter; while the organ, by far the most important piece of furniture in the church, and all but inevitably necessary to that "Singing" of praise and prayer which no one has yet had the hardihood to reckon less than of but secondary value to any act of worship whatever, is usually thrust about into any hole or corner of the building suggested by the vanity or ignorance of the architect. We do not say this has been literally done at Magdalen Chapel. The organ is to stand on the screen, as heretofore; but, in dread of obscuring a few extra superficial feet of a pretty, but not more than pretty, west window, the organ-case has been limited to dimensions anything but favourable to its internal economy. Either the authorities should have been content with a smaller organ, or should have conceded sufficient space for a larger one. The present arrangement is in the highest degree, unfair to the builders. These errors, however, generally bring their own punishment with them. Wait until something or other gets extensively out of order in the Magdalen organ, and the paymasters may probably discover the cost of attempting to cram a bullock into a goat's skin.

Of the voicing of this instrument, we can speak in the very highest terms of praise. The flue-work is pure and beautiful throughout, and the reeds, without any exception, are among the finest in this country. The mixture-work of the Great Organ is somewhat too tame; but this-judging from the usual style of these builders-we conclude to be, like the omission of the 16-feet stop in the same manual, "done to order." The Choir Organ, especially, is a perfect galaxy of gems. The Flute d'amour and Piccolo of this manual are both as utterly novel in character as delicious, and the Corno di Basetto, extending throughout the key-board, is the most admirable reed of the kind we ever heard. The limited dimensions of the case compelled the adoption of unusually small scales for the Pedal Organ. But this, in reality, has proved rather an advantage than otherwise; for the tone of this part of the instrument, while sufficient in volume, has a crispness and punctuality of articulation which heavier scales might somewhat have impaired. The new organ was formally exhibited, for the first time, on the evening of last Thursday week; on which occasion Mr. George Cooper displayed its, no less than his own, powers, to the great delight of a very numerous audience. Mr. Cooper's selection of music was admirably chosen to elicit the numerous varieties of effect of which this instrument is capable; and, as every one at all interested in organ-playing is familiar with the great acquirements of this fine performer, we need only say he fully justified his reputation. The programme was as follows:

PART I.-Domine salvam fac reginam, S. Wesley; Andante from sonata, Mozart; Organ piece, H. Smart; Grand prelude and fugue, J. S. Bach; Slow movement from a quartet in D major, Mendelssohn; Air, "The trumpet shall sound," Chorus, "To thee, Cherubim," Händel.

PART II.-Alma Virgo, Hummell; Slow movement in A flat from Quartet No. 6 (No. 20, Organists' Manual), Mendelssohn; Air, "He layeth the beams," Händel; Slow movement from sonata in B flat, Haydn; Air, varied, S. S. Wesley; Chorus, "He rebuked the Red Sea," Händel.

On Saturday evening last another great organist, in a different school of style and mechanism-Mr. W. T. Best-exhibited the Magdalen organ after his manner, and astonished as well as interested a numerous assembly of professors by his masterly performance of the following selection :—

PART I. (Organ Music).-Grand Offertoire (Op. 35), Lefebure Wely, (Organist of La Madeleine, Paris); Trio and Fuga (B minor), J. S. Bach; Introduction and Variations on a Russian Church Melody, by Bortniansky, A. Freyer; Pedal Study, in octaves, W. T. Best.

PART II. (Miscellaneous.)-Aria, "Honour and Arms" (Samson), Händel; Marcia (Op. 24), F. Spindler; Gavotta, J. S. Bach; Overture, "Ruy Blas," Mendelssohn.

Both performances took place in the splendid and architecturally appropriate exhibition room of Messrs. Gray and Davison's manufactury, New-road.

SACRED HARMONIC SOCIETY.

THE first performance this season of Mendelssohn's St. Paul (on Friday, the 23rd ult.), at Exeter-hall, was recorded last week, in a paragraph. The event, however, was one of importance enough to warrant some further remarks. Every one knows what the book of St. Paul is about, and is acquainted with the plan of the argument. It is only requisite, therefore, to speak of the performance-since to discuss the beauties of the music would be to revive an exhausted story. In many respects the execution on the present occasion, although it still left much to desire, was the most satisfactory for which we have been as yet indebted to the Sacred Harmonic Society. One piece of ill-luck marred in a great degree the pleasure derived from the oratorio. Mr. Sims Reeves, whose reading and declamation of the tenor music-which in the first part involves the preaching, persecution, and martyrdom of Stephen, and in the last the mission of Barnabas, Paul's appointed companion in the work of Christ-are worthy of unqualified praise, and indeed, have not been equalled by any other singer, was so seriously ill, that at the end of the first part, through which he laboured with commendable good will and true artistic feeling, an apology was made for him by Mr. Harrison, president of the Society, and Mr. Benson took his place in the second. The audience, who were fully aware of the disadvantages under which Mr. Reeves was singing, and appreciated his efforts to contend against them, received this announcement with genuine good feeling, and, however they may have been inwardly disappointed, extended that indulgence to which Mr. Benson, who had not enjoyed the benefit of a rehearsal, possessed a just right. Mr. Benson, however, is a good musician, and sang the part he had undertaken extremely well-especially the cavatina of Barnabas," Be thou faithful unto death," in which the obbligato accompaniment for violoncello was played to perfection by Sig. Piatti. It is not merely because Mr. Benson came forward at a very short notice that he is to be praised-since a singer accustomed to the sacred style, who is not ready at any emergency with the great and familiar oratorios, would be unworthy the name of artist-but because he sang really well, and under any circumstances was entitled to credit. In the soprano partone of great difficulty and invariable beauty, but chiefly declamatory, and therefore offering fewer chances than ordinary of making what are conventionally termed "effects "-Mad. Clara Novello shone conspicuously. Her recitatives were simple and emphatic; and her delivery of the angelic denunciation, "Jerusalem! Jerusalem! thou that killest the prophets!" was admirably pure. No voice was ever more entirely congenial to this ethereal and passionless music than Mad. Novello's, which in quality and transparent clearness of tone has not a superior, more especially in the higher department of its register. Mrs. Lockey was the contralto. She, too, has much to declaim and. recite, and only one "point" that can be said to stand out boldly from the canvas-viz., the tranquil arioso, "But the Lord is mindful of his own," which this able and accomplished singer gave with a richness of tone and a devotional feeling that left nothing to desire. The longest and most arduous part, that of St. Paul-which, as in Elijah, Mendelssohn has given to a bass voice-was intrusted to Mr. Weiss, one of our most careful and improving singers The four airs allotted to the Apostle (two of them with chorus) were all effectively delivered by this gentleman, more particularly "O God have mercy upon me," which in pathos, as well as in peculiarity of form, may be compared to "It is enough!" in Elijah. The fiery apostrophe, "Consume them all, Lord Sabaoth"-in which Saul, previous to his miraculous conversion, urges on the extermination of Christ's followers-is less suited to the style of Mr. Weiss; but, even in this, the steadiness of his execution lent additional force to the orchestral accompaniments which distinguish it so strongly from all the other music confided to the Lord's appointed missionary. Even the subordinate parts were carefully done, and on this occasion the false witnesses (Messrs. A. Novello and Smythson) were both in time and in tune.

The chief interest of St. Paul, however, in spite of the rare

merits of the solo pieces, is concentrated in the choruses, which are throughout picturesque and original, astonishing by their variety as much as they enchant by their melody, and edify by the lofty style in which the sublimer words and sentences are rendered. The chorales, or psalm tunes, harmonized with such appropriate gravity-one or two of them, we believe, original themes of Luther, but all of which Mendelssohn, by his especial treatment has made his own-were sung by the chorus with well-measured accent and irreproachable intonation. The best of all was that exquisitely plaintive one in F minor, "To thee, O Lord, I yield my spirit," which, it may be remembered, when played by one of the military bands, produced so solemn an effect at the funeral obsequies of the Duke of Wellington, just before the body of the illustrious warrior was borne up the nave of the cathedral to its last resting place. This could hardly have been better sung than by the members of the Sacred Harmonic Society. Another surprisingly good performance (although the time was not exactly con moto, as the composer has indicated) was the melodious chorus in E flat, Happy and blest are they who have endured," in which the soothing consolations of religion are suggested by music with an eloquence rarely paralleled. The very elaborate choruses, too, at the beginning and end of each section of the oratorio, were given with weight and decision-above all, "Oh! great is the depth," which terminates Part I. In "Lord! thou alone art God," the trombones were too boisterous, and, moreover, occasionally at fault. The like superfluous loudness was remarkable in the overture (otherwise finely performed); while, in the chorale, "Sleepers, awake!" at the end of the scene of the conversion, by playing fortissimo (Mendelssohn has only marked forte), these instruments drowned the voices, and spoiled the effect. In the chorus, "Rise up, arise and shine!" (the most magnificent in St. Paul) which belongs to the same scene, they were in better keeping; but there is no reason whatever why they should always play so loud. There are gradations of force for trombones and ophicleides, as well as for the other instruments of an orchestra, and they should be strictly attended to. Before leaving the more elaborate choral pieces, we must compliment the singers on the point and vigour with which, for the most part, they executed the fugues. The most intricate of these occurs in the chorus just mentioned, on the words, "Behold, now, total darkness covereth the kingdom." We have rarely heard this articulated with more unfailing distinctness. The finely-worked fugue on two subjects, in the five-part chorus introductory to Part II., was noticeable for the same desirable quality. As examples of delicacy and thoroughly good choral singing, without noise or violent contrasts, may be cited the tuneful hymn of the Gentiles, "Oh, be gracious, ye immortals," when Paul and Barnabas are solicited for mercy, and worshipped as the false gods Jupiter and Mercurius; the highly dramatic consultation of the people, "Is this he, who in Jerusalem ?" and the seldom-noticed but not less beautiful thanksgiving of the faithful," See, what love hath the Father bestowed on us" (near the end of the oratorio), none of which do we remember to have heard go better. The impressive pæan, "But our God abideth in Heaven," where the chorale-confided to the second soprani and brass instruments-at measured intervals, and with such majesty, towers above all the rest, was equally deserving of raise. "This is Jehovah's temple," was, as usual, a scramble, hich, in so generally fine a performance, was unpardonable. On the whole, this last execution of St. Paul was highly creditable to the Sacred Harmonic Society, and to Mr. Costa, who must have taken great pains to ensure it. The tempi of various pieces should, nevertheless, be reconsidered; some were too quick, but more were too slow, and thus the oratorio took a longer time in performance than the composer intended. Occasionally, the "sforzandi" were exaggerated to a degree wholly unwarranted; and we would especially point to the second part of the contralto air, “But the Lord is mindful," where the chords of diminished sevenths (we must be technical, having no choice of terms) on the word, "mighty," were each time so accentuated as to amount to something like caricature. These chords, from their peculiar character, express all that is required, without extra emphasis; and even if Mendelssohn has applied any dis

tinctive mark to them (of which we were not aware), the whole passage being marked piano, the gradation should be managed accordingly. However, in spite of certain faults and shortcomings, St. Paul has decidedly made a step in advance. The hall was crammed, and the audience were manifestly delighted. The Sacred Harmonic Society has long been able to boast of three great works, the source of profitable and unfailing attraction-viz., The Messiah, Elijah, and The Creation. Why Israel in Egypt and St. Paul (either of which, regarded as an oratorio, pur sang," is worth half a dozen such as the last named of those already in possession) should not be added to the list, it is for the managers alone, sooner or later, to determine.

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the members of Mr. Hullah's Upper Singing Class, on WedST. MARTIN'S HALL.-Mendelssohn's St. Paul, performed by nesday evening, attracted a very full audience to the St. Martin's Hall. Mr. Hullah, it would appear, from his announcement of the performance so long beforehand, and from engaging Mr. and Mrs. Sims Reeves as principal soloists, had made up his mind to his subscribers. If he failed to do so, it was not his fault. The present the oratorio in a very complete and efficient manner to chorus and band were both excellent, and indicated that careful rehearsals had been provided, while the names of the solo vocalists were guarantee of efficiency. The indisposition of Mr. Sims Reeves, however, which precluded him from terminating his part in St. Paul, at Exeter Hall, on Friday night, still incawhile a recent domestic affliction would have sufficiently acpacitated him from attending at St. Martin's Hall on Wednesday; counted for the absence of Mrs. Sims Reeves. She has also been suffering from an attack of influenza.

In order that there may be no misapprehension, innocent or perverse on this matter, and because Mr. Sims Reeves, like all of some "very kind friends," we reprint Mr. Hullah's circular, artists who occupy an eminent position, rejoices in the possession together with the medical certificates:

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ST. MARTIN'S HALL.-Mr. Hullah regrets to have to announce, that prevented from making their appearance this evening. The following in consequence of severe indisposition, Mr. and Mrs. Sims Reeves are certificates reached St. Martin's Hall at half-past two o'clock to-day."I hereby certify that Mr. Sims Reeves is prevented by indisposition leaving the house, or singing this evening. John Erichsen, F.R.C.S. Feb. 28th, 1855."- I hereby certify that Mrs. Sims Reeves cannot leave the house, in consequence of an attack of influenza, and will be prevented singing this evening. John Erichsen, F.R.C.S. Feb. 28th, 1855."Under these circumstances the indulgence of the audience is requested for Mrs. Enderssohn and Mr. Herberte, who at a short notice have kindly undertaken to sing the music assigned in the programme to Mr. and Mrs. Sims Reeves. Wednesday, Feb. 28th, 1855,

Under these circumstances Mr. Hullah was obliged to do the best he could; and Mr. Herberte and Mrs. Enderssohn supplied the places of Mr. and Mrs. Sims Reeves.

The other principals were Miss Palmer and Mr. Thomas. The lady has a tolerable mezzo-soprano voice, and displays some knowledge of her art. Her vocalization, however, might be improved, as she has some of the most acknowledged faults of the English school. The supporters of this young lady do not act wisely in making a special demonstration in her favour every time she sings. Eulogy is not criticism, and the only effect of this public display on the part of Miss Palmer's ill-advising patrons, will be to turn her head and make her fancy herself an accomplished artist, when she has really much to learn and much to unlearn. The boisterous encore Miss Palmer received in "But the Lord is mindful," was certainly not warranted by the capability displayed in its interpretation. Nevertheless, we must do justice to the young lady. Her voice, with proper training, may be turned to excellent account, and there is evidence of strong intelligence in what she does. Mr. Thomas has a good bass voice and sang the music of Paul very carefully. Mr. Herberte worked hard with the tenor music, and not unsuccessfully, while Mrs. Enderssohn sang the soprano part with great effect. The performauce of Mendelssohn's great work was, on the whole, one of the most creditable we have heard under Mr. Hullah's zealous direction. The next oratorio will be The Creation. A repetition of St. Paul is also decided on.

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