Sinfonie (No. 4, A major), Mendelssohn; Cavatine and Huntsman's Chorus, from Weber's Euryanthe; Cavatine, sung by Mad. Botschon, of Prague; Adagio und Glöckchen Rondo for the violin, Paganini, performed by Concertmeister R. Dreyschock (for the first time); Wagner's Flying Dutchman Overture (for the first time); and a new composition by N. W. Gade for solo, chorus, and orchestra, styled the Erikonigis Tochter (for the first time).

Of course Mendelssohn told well, as usual (for when does he not tell, and well too, at the Gewandhaus ?) and the band, under the able direction of Herr K. Rietz, was in admirable order. Weber's composition went brilliantly. Mad. Botschon sang better than the last time I heard her, and the chorus was energetically given by the Paulienerverein, Thomanerchor, and the Singacademie. Herr R. Dreyschock, in Paganini's well known morceau, created a great sensation. This composition is seldom played here, no doubt owing to the many difficult passages it contains, which none but first-rate artists can surmount. For the first time Herr Wagner's music has been heard within the Gewandhaus walls, and, to judge from the coolness of its reception, it will also be the last. At the conclusion, not one hand was raised to applaud the "Music of the Future.' If it was admired at all, it was in profound silence. Herr Gade's new work was on the whole very well performed; the solo parts were sustained by Mad. Botschon, Mad. Dreyschock, and our opera basso, Herr Behr; the choruses were give by the above-mentioned Gesangvereins, and the orchestra did its utmost to ensure a favourable result. They evidently succeeded, for the Erl-King's Daughter was listened to throughout with deep attention, and at the conclusion much applauded.

Sig. Bazzini, the violinist, gave a concert on the 16th inst., in the Stadt Theater, with success, to a numerous assembly. It is expected that he will give two more during his stay here.

Last night (18th) the appearance on our stage of Mdlle. Agnes Bury, from the Royal Opera, Drury Lane Theatre, in London, was greeted with no small applause. She appeared in La Sonnambula, and was recalled at the end of each act, and even in the middle of some scenes she had to appear at the unanimous demand of the audience. On the 20th she sings in the Zauberflöte. In your last week's paper I met with the name of Mr. Bache, who is about to make his début in England. Perhaps it may be well to observe that he has studied here under some of our best masters, and is in possession of excellent talents, both as pianist and composer, which induces us to anticipate that his reception in England will be highly favourable.

[It may be also well to observe that Mr. Bache was known in England before he went to Leipsic, and that he studied the pianoforte and composition under no less eminent a master than Mr. Sterndale Bennett.-ED. M. W.]

Herr Rietz has determined not to accept the post of Capellmeister offered him in Dessau, but to remain here in Leipsic.

BERLIN.

(From our own Correspondent.)

Ar the Royal Operahouse, we have had M. Roger as Fra Diavolo-for the first time here-and also as Raoul and Edgardo. Iphigenia in Tauris has been performed, to the great delight of Gluck's admirers. Mad. Köster sustained the principal cha

racter.

The last Soirée of Herren von der Osten, Grünwald, and Radecke; the second of three given by Herren Ries and Steifensand, for charitable purposes, and Herr Kéler Béla's performance of a violin concerto of his own composition, in Sommer's Saloon, all came off on Wednesday. The Soirée of Herren Ries and Steifensand was given in the Singacademie, and commenced with a quartet by R. Schumann, performed by Herren Steifensand, Ronneburger, Richter, and Griebel. Herr Ries played a "Rêverie" by M. Vieuxtemps, and an Allegro apassionata of his own; and Herr Steifensand an original composition, after which they joined in a fantasia by MM. Wolf and Vieuxtemps, on themes from Don Juan. The vocalists were Mdlle. Valerius, Herren Geyer and Hahnemann. Stern's Gesangverein gave a concert in the room of the Theatre Royal, which was well attended. The principal features were Mendelssohn's Psalm, "Da Israel aus Egypten zog :" Beetho

ven's fantasia for piano, chorus, and orchestra; and a mass by the same composer, all of which were executed in a manner reflecting credit on the members.

Mad. Clara Schumann performed the pianoforte part in Beethoven's Fantasia, and, though last not least, Herr Joseph Joachim played Mendelssohn's violin concerto in a manner to justify his right to be classed among the first violinists of the day. On Saturday, the concert of the Frauenverein, in aid of the Gustav-Adolf Stiftung, began with a psalm, "Du bist mein Heil," composed by Herr Emil Naumann, musical director of the Royal sacred music, and sung by the members of the Königlicher Domchor, who also gave Mendelssohn's 43rd Psalm in splendid style. Mad. Clara Schumann played Beethoven's solo sonata in A major, Op. 101, and Mdlle. Hoppe sang a hymn with choral accompaniment, by Mendelssohn. The concert concluded with a new composition entitled, "Requiem für Mignon," by Robert Schumann, which did not produce a very favourable effect. In my last letter I sent you Herr Rellstab's criticism on Miss Arabella Goddard: I now forward that of the gentleman who writes for the National-Zeitung.

"The fair artist played Mendelssohn's Trio in D minor, Händel's Variations, which we heard her give a short time ago, a transcription of Schubert's Forelle,' and, in obedience to a general encore, concluded with a Salonstück, the name of which we do not know. The strength and fulness of her tone, her admirable precision and certainty, her great technical skill, which is equal to any task, however difficult; and the repose and objectivity of her style, place Miss Goddard among the first pianoforte celebrities of the day. Although she dedicates herself more especially to the culture of classical music, and above all to Beethoven's sonatas, Bach's fugues, with other works of the same description, she is well acquainted with all the arts of modern virtuosi, for which reason we can but esteem more highly her reserve in this particular."

FOREIGN MISCELLANEOUS.

KÖNIGSBERG.-A new grand serious opera in three acts, entitled Der letzte Maurenkönig has been produced with success. The text is by Herr J. E. Hartmann and the music by Herr F. Marpurg. GÖRLITZ.-A new and original opera, entitled Der Regent, was produced for the benefit of the composer, Herr Saupe, Capellmeister here. It was favourably received.

DESSAU. It is said that, in consequence of the destruction of the theatre by fire, the management will avail itself of the clause contained in the agreements of all the artists empowering it to declare the said

engagements null and void.

WIESBADEN.-A new opera, Der Unbekannte, has been successful. STRASBURGH.-M. Meyerbeer's Etoile du Nord has produced an extraordinary sensation. On the first night of its performance, the crowd was so great, that hundreds were turned away from the doors.

The

CLIFTON.-A concert recently given by Miss Jackson at the Victoria Rooms was fully and fashionably attended. bénéficiare deserves praise for her own excellent performances, as well as for the high class of music she selected, and the eminent artists she engaged as her coadjutors. When we mention Mozart, Mendelssohn, and Spohr, as the composers, and Ernst and Piatti as performers, our readers will at once comprehend the treat given by all real lovers of music. Spohr's fine trio in E minor (No. 1), which opened the concert, gave to Miss Jackson an opportunity of proving her command over the pianoforte, and to Ernst and Piatti the means of showing the perfection of their tone and expression in the slow movement. In Mendelssohn's trio in D major (No. 1), Miss Jackson again shone to advantage as an executant. The slow movement was played with great taste, and the finale with great brilliancy. Ernst performed his beautiful Elégie in a way that quite entranced his hearers; and Piatti's Fantasia on the violoncello was all that could be desired. Miss Stabbach was the vocalist, and her singing in " Batti, Batti," accompanied on the violoncello by Piatti, established her as a favourite at once. concert was altogether first-rate, and the audience discriminating. THE THEATRE-IMPERIAL ITALIEN, at St. Petersborg, has terminated its winter season. All the artists have left. Tamberlik and Tagliafico are in Paris, Lablache and Ronconi are expected next week.

The

NOTICE.

ADVERTISEMENTS.-It is necessary to inform advertisers that we cannot undertake to extract advertisements ourselves, for insertion, from other papers. Whatever advertisements are intended for the MUSICAL WORLD must be sent to the Office by the proper authorities or their agents. This will render all mistakes impossible for the future. In accordance with a new Postal Regulation, it is absolutely necessary that all copies of THE MUSICAL WORLD, transmitted through the post, should be folded so as to expose to view the red stamp. It is requested that all letters and papers for the Editor be addressed to the Editor of the Musical World, 28, Holles Street; and all business communications to the Publishers, at the same address. CORRESPONDENTS are requested to write on one side of the paper only, as writing on both sides necessitates a great deal of trouble in the printing.

TO CORRESPONDENTS.

INQUIRER. We believe the salary paid to the principal violoncello in Her Majesty's Private Band, is £130, with the privilege of sending deputies when his duties at the Royal Italian Opera and the Philharmonic Concerts may require his presence else where. The salary, if we remember well, was reduced at one time from £130 to £110, on account of these privileges; but, after remaining during a considerable period at the lower figure, on account of these privileges, it was suddenly restored to the higher figure, without taking these privileges into account. Thus, it would appear, the principal violoncello gets £50 more than the principal viola.

AN ADMIRER OF VERDI. It was a misprint. Azucena, not Azucema, is the name of the Gitana in Il Trovatore. AN AMATEUR.-It is out of our department to give opinions about the merits of professional artists, singers, or players, except when reviewing their performances. Otherwise we should be happy in complying with the request of "An Amateur," who, on second thoughts, will not fail to understand the force of our objection. C. A. B. (Cologne).—We have made inquiries. Nobody knows anything about such a work, either original or translated. STOCKTONIENSIS.-The letter has been forwarded to Mr. W. Chappell, 201, Regent Street.

THE MUSICAL WORLD.

LONDON, SATURDAY, MARCH 24th, 1855.

"The establishment of a Fund, from which to administer relief in cases of distress arising among persons connected with the Society, has for some time been an object of anxious desire on the part of many of the members, from a conviction that it would be calculated to be productive of much benefit. It has, indeed, often excited surprise, that à Society of such widely-spread influence, and from its nature presenting so many possibilities of the beneficial operation of such an Institution, should not heretofore have matured a plan of this kind. Claims such as those hinted at have occasionally arisen, and it has been a gratifying duty to the Committee of the Society to report, from time to time, their having been able to administer seasonable and urgently-required relief, and the members of the Society have cheerfully sanctioned such an occasional appropriation of their funds. It is, however, obvious that the funds of the Society will not bear, nor are intended for, such application, while the declining years of some who have been long conliable, render it probable that a greater proportion than heretofore of nected with the Society, added to the contingencies to which all are cases seeking benevolent aid will arise. Actuated by these considerations, the members of the Society, upon the Report of a Committee specially appointed to consider the subject, have, at a General Meeting held at Exeter Hall, on the 14th of March instant, established an Institution designed to accomplish the object proposed, and laid down rules for its management. The attention of the members, assistants, subscribers, and friends of the Society, and of the public generally, is now invited to the subject, in the hope that their cordial support will be given to an Institution of so benevolent a character."

This statement is clear and simple, and the reasons laid down in it for setting the scheme on foot are entirely satisfactory. Some of the rules by which the management of the fund is to be regulated deserve equal attention—since much depends upon them for that liberal course of action, combined with a wise and provident administration, which (coupled with the total absence, and, indeed, plain impossibility of anything in the shape of jobbery) can alone command respect and ensure a permanent success. They are as follows:

1. The Fund will be applied to the aid of necessitous persons generally, who have at any time been connected with the Sacred Harmonic Society. 2. The Committee of Management consists of a certain number of members of the Committee of the Society, and the remainder 3. An Annual Meeting of chosen by the Governors of the Fund. Governors will be he held, and a report of proceedings and statement of accounts will be published. 4. It is proposed to raise a certain amount of permanent capital, to be invested in Government securities in the names of Trustees, the dividends from which, and a proportion of the annual contributions, to be applicable to the object of the Fund. 5. An Annual Subscription of Half-a-Guinea and upwards constitutes a Governor, and a Donation of Five Guineas and upwards, at one time, a Life Governor."

it cannot be denied, have derived an amount of refined enjoyment from the concerts of sacred music at Exeter Hall (and at a reasonable price, too), which probably no other musical institution, certainly no other of the kind, has ever had it in its power to administer. The Sacred Harmonic Society has made Händel popular with the masses, and has in a large measure contributed to that sound and healthy taste which placed Mendelssohn on a pedestal whence all the united efforts of "the Jesuits" must utterly fail to remove him. For that alone it merits the warm consideration of every true lover of music; and for that, and other reasons, unnecessary to state here, we shall be happy to afford the new Benevolent Fund every assistance in our power.

As a preliminary step, we cannot do better than reprint the main argument of the prospectus, with a proof-copy of which we have been favoured :

volent Fund

The Bene

coteries.

must beware of cliques and We mistrust no one; but, where the benefits accruing are of general application, there should be no absolute or semiabsolute authority, vested in any one, two, or three individuals, who (like the "director" of a society which makes its appeals to public support near the statue of William Pitt) may show themselves more zealous, busy, active, meddling, officious, or even intelligent than the rest. The advertised names of the Committee of Management look very well, but if they looked ten times as well, and promised ten times as much, they must not be allowed-suddenly, or by degrees—to assume despotic and irresponsible dominion:

Puttick (Hon. Secretary), Messrs. T. Brewer, R. Bowley, J. Black, M. Mr. J. N. Harrison (President), Mr. D. Hill (Treasurer), Mr. J. F. Hanhart, J. Kitcat, D. Sims, J. Stewart, R. Taylor, and E. A. Waugh ; Messrs. T. Dix, W. O. Mitchell, and T. Reseigh (Auditors).

"FUTURE.

Wagner owes Liszt his fame, his position and even his Without Liszt and the "Jesuits," he would never have emerged from the oblivion into which he had fallen before the Revolution of 1848. It is attributable to Liszt, and the leading journal of his party, that the public began to be excited by a desire to see and hear something of the man of "the future." Wagner was not slow to profit by the opportunity. The next "book" he gave to the world was Oper und Drama, in which he makes fearful onslaughts upon modern composers, more especially Meyerbeer, and claims, of course, all praise and respect for his drama. Opera and Drama is, in fact, a corollary to the Art-work of the Future, with criticisms on other subjects, amongst which is the rottenness of present artistic society, which had been done before and will be done after him with more truth and better grace.

The third "book"* contained the poems of Der Fliegende Holländer, Tannhäuser, and Lohengrin, with addresses to the men he professes to love; for love and friendship, with Wagner, are synonymous. In this "book "—the most curious of all, not on account of the poems, but from the candour with which the author accepts the appellation of genius, and tells his friends how he came to be a genius-he declares that his task is finished; that necessity alone had driven him to explain to the world the need of another musical art than that to which it had been accustomed; and that henceforth he would create the things needed, and be nothing else than a poet-musician. The poems contained in the book are neither drama nor opera, but legends, in the frame-dramatic -a fragment of drama, not drama itself.

While this was going on, Liszt, at Weimar, forced three of the operas upon the stage. The public, allowed for a length of time to listen to nothing else, at last endured them patiently. But Weimar has no influence; a more important arena was necessary-Leipsic, for example. Tannhäuser was put on the stage, and, with students at hand, to instruct, explain, and clear up, endured patiently in Leipsic. What is Tannhäuser? Wagner and his friends assure us: not opera! Drama? If such a man, without principle or character, irresolute and uncertain, turning to this, now to that, continually swayed by exterior circumstances, can be the centre of drama, Tannhäuser may be "drama." But there is nothing new in its ideas or construction. The instrumentation is always heavy; but that is not new. The orchestration is often so "thick," that the sense of the words is lost; but that is not new. There is nothing new in Tannhäuser, except certain abrupt modulations and very clumsy harmonies.

Tannhäuser has made the round of Germany, all but Vienna, Dresden, and Berlin - excluded for political reasons. Not so Lohengrin. There were great hopes in Leipsic of this "best" piece, as Wagner calls it. But, alas! in spite of friends, press, decorations, and favourable circumstances, the public would not endure four hours of un nterrupted recitative; and Lohengrin made an unequivocal fiasco. But this is the real touchstone of public sympathy for the music

* Drei Operndichtungen nebst einem Vorwort an meine Freunde, von Richard Wagner.

of the "future," since Lohengrin really offers something new, There is no cessation, no rest for the instrumentalists, singers, or public; the action moves on continually, accompanied by music, except one or two short phrases, where the orchestra stops, with a somewhat melodramatic effect. The whole is a long, tiresome recitative.

Yet

The friends who call Wagner a genius point triumphantly to Elsa and the love-scene with Lohengrin. "Here are combinations, here are tones," they exclaim, "which only genius could draw from out of Nature's bowels." Lohengrin, though enormously lauded in the papers of the "Jesuits," and his own confessedly "best piece," has left the world (the "rotten" world) untouched, cold without-and within, in body and soul.

Lohengrin is the last published work of Wagner, except some articles in journals, lauding his own music, and promoting his own interests. He is at present engaged on a tetralogy (Flowers, "you're wanted"), in which legends of the Edda, or ancient Scandinavian poems, are dramatised. Sophocles, having trilogised triumphantly in his Edipus family, Wagner must of course tetralogise; and, instead of three, have four connecting links. "They four" (Ezekiel) are Rheingold, Die Walküre (fabulous protecting deities of the Icelandic Mythology), Der Junge Siegfried, and Siegfried's Tod. The poem of the Tod (Death), was finished six years ago, and published two years ago-not for the world, but exclusively for Liszt and the "Jesuits." Rheingold was done last spring; and on Die Walküre the man of "the future" is now urgently employed. "They four," united, are called The Ring of the Niebelungen (Circle would be better, there being four sides to a square, and since, after the Niebelungen, Richard will possibly attempt to square the circle, in a dramatic and harmonious sense). The Viebelungen, as every one knows, is the ancient, national epic of the Germans, in which the northern legends are conglomerated, as the eastern fables in the Thousand and One Nights. The Ring of the Niebelungen must be performed on three consecutive evenings, or not performed. Under these circumstances, it is more than probable that it will be not performed. Mr. E. T. Smith, however, is an adventurous man; and, we believe that Mr. Tully, his chef-d'orchestre-though he may not have heard the music-has read "the Books."

MR. FREDERICK GYE has been for some days in Paris, making arrangements for the forthcoming season at the Royal Italian Opera. Mad. Jenny Ney, principal singer at the Dresden Opera, is positively engaged. Il Trovatore will be one of the first performances, and in this opera of Signor Verdi the London public will be introduced to the new contralto, Mad. Borghi-Mamo. M. MEYERBEER.-In consequence of the immense success of the Etoile du Nord at Dresden, the King of Saxony has conferred on M. Meyerbeer the cross of commander of the "Ordre Royal d'Albert."

Director of the Théâtre-Italien in Paris, died on Monday the M. VATEL, agent de change, and formerly well known as 12th inst., after a very short illness.

CONCERT AT THE UNIVERSITY COLLEGE.—A soirée was given on Wednesday the 14th, by the students of University College, in the spacious and elegant library, which went off with great eclat. siderable portion of the great number assembled. Mr. Benedict, Their confrères of King's College were invited, and formed a conaided by Herr Ernst, Messrs. Chipp, Lazarus, F. Chatterton, Weiss, and H. Braham, contributed not a little to the pleasure of all-robed and unrobed. Deep attention was paid to the great artistes, encores throughout being considered as decidedly necessary to shew the enthusiasm felt. Lord Brougham and many other celebrities attended. Some very fine and excellent pictures, bronzes, etc., were displayed, and found many admirers.

MUSICAL WINTER EVENINGS. THE third concert (on Thursday, the 15th inst.), which we were unable to notice last week, offered a most agreeable selection, and a performance pretty nearly perfect.

Quartet (A minor, Op. 58), Spohr. Quartet (F minor, Op. 2), Mendelssohn. Quintet (E flat), Mozart. Melodies for Violin and Pianoforte (Op. 47), Molique.

Spohr's quartet (we hear too little of Spohr) was both charming and refreshing. It is becoming the fashion with a certain coterie (originated among the Jesuits of Leipsic, of course), to underrate this fine and genial master, with all his mannerisms, one of those to whom the art is most indebted. Herr Molique was in glorious play. Of all the great violinists it is he who enters most fully into the spirit of Spohr's quartets, and plays them with the greatest perfection. We were charmed beyond measure with his performance of the one chosen for the present occasion. Every movement-the flowing moderato, the pleasantly varied and in itself pleasant theme, the sparkling rondo (Spanish to the last; yet Spohr, according to the Jesuits, has no character, but only an insipid manner peculiar to himself)-was admirably "interpreted" (that is the right word) by Molique, who was supported with the utmost efficiency by Messieurs Goffrie, Hill, and Piatti, on the second violin, tenor, and bass. The quartet, we repeat, was quite refreshing. How twice effective was the early work by Mendelssohn (composed at thirteen years of age-not fifteen, as a contemporary relates with very natural astonishment*), coming after music so utterly unlike it. This, too, was played to a nicety. A more pure and delicate execution, a more light and brilliant finger, a more thoroughly unaffected (and unobtrusive) style than that of Mr. Lindsay Sloper cannot be cited among existing pianists. He has spirit, too, and lots of it, as he proved by his reading of the passionate allegro, and the finale so full of youthful and vigorous fire. This quartet, and that of Spohr, were presented for the first-we trust not the last-time at Mr. Ella's sittings. By their loud applause, the audience of connoisseurs, select and fashionable as usual, showed their appreciation of the music of both masters, and their entire satisfaction with the

executants.

Mozart's fine quartet (in which Mr. Webb joined the players we have named, as second viola, in the most efficient manner) was a treat of another kind. Mozart all over, the learning and ingenuity of this quintet are only surpassed by the fancy in which it abounds. But we need not go into a lengthy description of a masterpiece so well known. The performance of Herr Molique and his coadjutors was irreproachable from beginning to end. Molique, by the way, is quite as much in his element with the chamber music of the "Child" of Saltzburgh, as with that of the "Stupid" of Cassel.

The "Melodies" for violin and piano, in MS., are welcome additions to those rare little gems already published by Herr Molique under the same title. They are equally a boon to violinists and pianists. Played to admiration by the composer and Mr. Sloper, they fairly enchanted the audience, who dispersed, filled with gratification at the refined and well-varied entertainment Mr. Ella had provided for them.

* The Ottetto was composed at the age of fifteen!

M. JULLIEN has retired, pro tempore, to his estate in Belgium, to take some repose after the fatigues of his double winter season and his long tour in the provinces,

ALBONI. This renowned singer has been engaged by Mr. Beale for a provincial tour, to take place in April and May; Mdlle. Alboni will arrive in London early next month to fulfil her contract. Herr Ernst is also secured; so that the party is likely to be one of the highest attraction.

PHILHARMONIC SOCIETY.-The directors of the old Philharhomic Society had a rehearsal on Monday of some of Herr Wagner's new compositions. We believe it was strictly private, every member of the Society not being invited. Was this constitutional?

Conductor, Mr. Henry Leslie.

Händel. Meyerbeer.

Haydn's symphonies are just the things for Amateurs. Fine and spirited music, without being difficult, full of variety and simplicity of style that place them within reach of universal appremasterly elaboration, together with a general clearness and ciation-nothing can be better suited to bring up gentlemenexecutants in the way they should go. The performance of the vigorous old "B flat" (somewhat hacknied by our theatrical orchestras, in times gone by), had many points of decided merit. The minuetto and trio satisfied us less than the other movements; but the execution, as a whole, spoke well for the discipline enforced by Mr. Henry Leslie, and justified the wisdom of Amateurs in placing their affairs under the direction of one of themselves. Mr. Leslie, we all know, is an amateur-rather a knowing one, by the way-but": an amateur." The overture called The Regicide, by Mr. Lucas, belongs to an opera which has for many years been known to exist in that gentleman's portfolio, and which, nevertheless, we should like to hear. The overture has been played at the Philharmonic Concerts, the concerts of the Royal Academy, and elsewhere. Mr. Leslie took great pains with it—which, as he formerly studied the rudiments of composition under Mr. Lucas, was nothing less than his bounden duty. The tempo in both movements was too slow; but that was a cunning device on the part of the conductor, who was anxious no doubt that there should be as few "slips" as possible in the learned doctor's composition. The Amateurs-like famous fellows as they are when engaged upon an unknown work-paid strict attention to Mr. Leslie and to their books, made very few "slips," and came honourably out of the ordeal. We are satisfied that Mr. Lucas, if present, was satisfied himself. The overture to Samson offers many difficulties to orchestral players, not merely amateur but professional. The horn parts, par exemple, are preposterous, and when doubled become doubly preposterous. The cornists in Händel's daylike the trumpeters (or clarinists)-must have been very devils, or at least magicians, or, to say nothing more, sorcerers possessed of enchanted horns. We always think, at Exeter Hall, when Samson is performed under the eager stick of Mr. Costa, that the players will never get to the end of their horn-parts; and were, therefore, surprised no less then pleased, at the care, no less than zeal, displayed on Monday by the representatives of those very tough instruments in the Amateur Society. The brilliant march from the Prophète was dashed off with remarkable spirit and “entrain.”

The performance of Mendelssohn's second and most difficult pianoforte concerto would have done credit to any professor. The pianist was Mdlle. "Angelina"-a young lady long known to the public as a vocal composer of more than ordinary talent, and who has now established herself on quite as solid a basis as a first-class instrumental executant. Her reading was varied and expressive, and her handling of those passages where mechanical skill is chiefly concerned, demonstrated a rare and enviable command of the instrument. The finale, which few professional players take quite up to time, was begun, and continued to the end, at the true Mendelssohnian speed. It is well to commence at