BRUSSELS. (From an occasional Correspondent.) THE public are determined that the "poor burnt-out artists" of the Théâtre de la Monnaie shall not lack encouragement in their new locale. The "Théâtre Royal Provisoire" is crammed every evening and everything is applauded à l'outrance. The plan of the new theatre excites great attention. It is to be hoped a decision will soon be come to, the building quickly proceeded with, and a theatre worthy of our capital be ready before the autumn begins. M. Carinan's benefit was a bumper, and his exertions in the operas of the Comte Ory and the Nouveau Seigneur were rewarded by the applause of his admirers. Madame Tedesco has been singing in the Favorite for the benefit of the company. The duet in the fourth act, in which she was assisted by M. Wicart (who is engaged for the opera in Paris), was twice encored. HANOVER.-Dr. Spohr's symphony for two orchestras is announced for the eighth subscription concert, under the direction of the com. poser. Arthur Napoleon has played once in the theatre. VENICE.-Antonio Cammera, the violinist, died on the 8th ult., aged 84. Fifty years ago he used to give concerts, and numbered Paganini among his admirers. BERLIN.-(From our own Correspondent.) — The Sinfonie-Soiréen were brought to a close last Saturday, when a new symphony, by Herr Taubert, was performed for the first time, and favourably received. The other pieces were Cherubini's overture to Les Deux Journées, Mendelssohn's "Meerestille und glückliche Fahrt," and Beethoven's symphony, in A major. On Saturday, also, Herren Zimmermann, Ronneburger, Richter, and Lotze, gave the last of their Soiréen. The pieces were Haydn's Quartet in G, Op. 33, No. 5, Beethoven's in E minor, and one by Schubert. On Wednesday, Herr Löschhorn and the brothers Stahlknecht, gave the last of their Trio-Soiréen-the 100th time of their playing together. The programme comprised Schubert's Trio in E flat, Mozart's in G major, and Beethoven's in B flat, Op. 97. The last Quartett-Soirée of Herren Oertling, Rehbaum, Wend, and Birnbach, has taken place in Sommer's Rooms, and the last Matinée of Herren von Kalb and Wohlers, in the Singacademie-so that we have had a week of "last nights." M. Vieuxtemps has been giving some concerts with great success, and the trilogy, by Berlioz, L'Enfance du Christ, which was lately performed under the direction of the composer, attracted a very large audience, and was wonderfully successful. Mdlle. Elmire, the contralto, a great favourite here, has been engaged for four years by the director of the Imperial Opera, in Paris. A two-act opera by M. Soubre, pupil of the Brussels Conservatoire of Music, is in rehearsal, and is entitled Isoline, ou les Chaperons blancs. Three thousand francs are to be expended on the mise-en-scène. The last novelty to be produced this season is an opera by MM. Saint-Georges and Adrien Boieldieu-La Fille Invisible. The authors will come to Brussels expressly to super-pianoforte was represented by seven foreigners, Herren von Bülow, intend its production. The projected scheme of our troupe going to London for two months, to perform at Drury Lane Theatre, is likely to come to an end, in consequence of so many of our principals being engaged for the Exhibition season in Paris. COLOGNE. (From our own Correspondent.) ARTHUR NAPOLEON has been the attraction here during the last week, and, so far from his having studied no new piece (as hinted at by you in your last number of the M. W.), he has played here, in public, besides the Mosè, Thalberg's Huguenots, Figlia del Reggimento, Lucia di Lammermoor, Beethoven's Sonata in C minor, the Pathétique, and the Serenade in D, Favarger's Fantasia on Oberon, Schulhoff's Carnaval de Venise, besides several Bravura Polkas of Vincent Wallace and Schulhoff, etc. He has played twice in the theatre, and gave his services at a concert of the Männergesangverein in aid of the sufferers from the late inundations of the Rhine. At his own concert, he was assisted by Herr Kock the tenor, and Herr Pixis, the violinist. The Männergesangverein have announced a concert for Arthur's benefit, at which he is to play a duet with his younger brother, who, it would seem, also partakes of the nature of a hot-house plant of the genus exoticum, undergoing a similar process of "forcing." What a pity, you will say, he is taught to play so much inferior music.* At the same time it may, perhaps, be his best policy, if he looks only to the present, as one cannot believe, whatever technical skill he may possess, that he has vous enough to fathom the mysteries of Beethoven, though to judge from his performance of the Pathétique, one would almost think he had. A new and original opera, Die Barden, by Herr Freudenthal, HofCapellmeister in Brunswick, has been produced with success by a society of amateurs. It is intended to be a parody on Norma, and is written entirely for male voices, but with one female character. The music is light, pleasing, and by no means commonplace. I have learnt from Ferd. Hiller, that the Niederrheinisches MusikFest is to be held at Düsseldorf at Whitsuntide, and that we can dispense with M. Roger, since Mad. Jenny Lind Goldschmidt has kindly consented to give her services, which she insists shall be gratuitous. Haydn's Creation, Symphonies by Ferd. Hiller and Beethoven, and R. Schumann's Peri und das Paradies, will be comprised in the pro gramme. FOREIGN MISCELLANEOUS. manager to concede his right in the theatre to Herr d'Arronge. Nicolo Roger appeared, for the first time, on the 13th instant. *It is a great pity.-ED. M. W. The "Winter Season" has been prosperous. The number of subscription concerts were fifty-five-nineteen were for orchestral music, fifteen for "chamber," seven for sacred, and fourteen for miscellaneous. Í have not included the Wednesday and Friday concerts of Liebig's Capelle, in Hening's Room, nor the Quartet-Soiréen of Herren Oertling, Rehbaum, etc., in Sommer's Saloon. In addition to subscription concerts, others were given by "celebrities," and others for charities. The Schulhoff, Rubinstein, Arthur Napoleon, Miss Arabella Goddard, Mesdames Schumann, and Falk. The concerts of the second class were about fifty. Add the four operatic performances weekly at the Royal Operahouse, and you will have some idea of the winter "consumption" of music in Berlin. The Duke of Saxe-Meiningen has presented Herr Joseph Wieniawski with the "Golden Medaille am Bande!" M. ALEXANDRE BILLET'S CONCERTS.-The first of these per formances deserves more than the paragraph we were enabled to accord it, at a late hour last Friday night. The fine and poetical sonata in F sharp minor of Dussek, entitled Elegy on the Death of Prince Ferdinand of Prussia, played as it was, in masterly style, by M. Billet, was alone worth going to hear. This zealous and excellent pianist appears to have undertaken a sort of crusade to rescue the works of neglected masters from the oblivion into which they should never have descended. How so genuine and capital a work as Dussek's Elegy came to be consigned to the Index Expurgatorium of the Musical Library, it is difficult to say. It has been effectively resuscitated now, however; and what Mr. Sterndale Bennett did for the Invocation, and the Farewell to Clementi, M. Billet is endeavouring to do for the Elegy and the Plus Ultra. The brilliant sonata of Beethoven (Op. 53), the stately prelude and fugue in B flat, from Mendelssohn's Op. 35, and the vigorous Rondo Brillant, in E flat, of Weber-all of which M. Billet played famously, in all of which he was warmly applauded, and in the last of which he was encored-stand in no need of advocacy. They have not yet been condemned to the shelf of the student or to the melting-pot of the engraver-as was the case with some of the best works of Dussek and Steibalt in this country. Fancy the old plates of one of Dussek's finest sonatas melted, to make new ones upon which to punch a polka of Talexy! Pure Vandalism-nothing short of it. In the melancholy Chopin's melancholy nocturne (C minor), in the sparkling M. Emile Prudent's sparkling Réveil des Fées-one of the prettiest and most original of his more his own upon the theme of "A te, o cara” (I Puritani), M. fanciful caprices-and in some clever and difficult variations of Billet showed himself as expert and conscientious an interpreter of the modern school of fantasia, in three of its various forms, as of the more "classical" and antique style for which he entertains a predilection. In all these he won golden opinions from the ladies. Miss Palmer has a nice voice, sings with taste, and well deserved the encore she obtained in a graceful song by Herr Silas. Of the second concert, which took place last night, we shall give an account in our next number. An interesting novelty was a sonata by Paradies-who was not a man, but a woman, as we intend to make known shortly. PROVINCIAL. ROYAL ACADEMY OF MUSIC. CARMARTHEN.-A concert was lately given at the Assembly THE second concert for the exhibition of the students took Rooms, at the especial request and under the express patronage place on Tuesday, like the last, in Tenterden-street. Not only of the stewards, for the benefit of the lessee, but as neither of is the locality of the concerts changed, but the day on which the stewards attended, and no exertion was made on their they were accustomed to take place. Saturday was wont to be behalf to justify the announcement that the affair was honoured the day, and Hanover-square Rooms the place. We trust that with their names, it proved an entire failure. In using the all this alteration betokens reformation or its diagnosis. The word "failure," however, it must only be understood as appli-programme on Tuesday, however, afforded no direct indication cable to the attendance, for the performance was excellent. The of either. There was not a single contribution, vocal or instruservices of Miss Freeth, of Swansea, had been secured, and her mental, from any of the pupils, and the selection presented no Pianoforte solos exhibited great talent. She played selections novelty whatever. Beethoven's Mount of Olives and a miscelfrom Lucia and Maritana, and, being encored, gave from lany, of the ordinary concert character, constituted the scheme. memory two other pieces with equal skill. The Carmarthen In some instances, the performance of the oratorio was creditMusical Society and the Carmarthen Brass Band performed, able to the executants. The ladies, as usual, acquitted themselves best. Miss Ellen Williams was very successful in the air "Praise ye the Saviour's goodness;" and Miss Hughes and Miss Whyte, respectively, in the duet, "If such thy will," and the trio, "Within my soul," showed improvement. The tenor part was allotted to Mr. Herberte, who, though a pupil of the Academy, is a practised hand, and has long since passed his noviciate. The choruses, if not entirely satisfactory, showed that pains had been bestowed upon them. The final chorus, "Songs of glory, loud hallelujahs sing," was perhaps the most effective. and Mrs. and Mr. Shackell were the vocalists. BRIGHTON.-The performances at the sixth concert of the Amateur Symphony Society last Thursday exhibited improvement. The instruments were better in tune than last year, the wind especially. The first symphony of Haydn was listened to with delight. The Times remarked upon the performances of the Amateur Symphony Society in London; and we think this Society would do well to follow the suggestions there made with respect to selections. We recommend the Society to play Haydn and Mozart oftener, and Beethoven and Spohr less frequently. No works give so much pleasure to the subscribers as Haydn's. The performances on this occasion were diversified with some songs by Mr. C. Rivers, who has a good baritone voice, and considerable talent. One of these, an Italian air by Mozart, was encored. The songs were accompanied by Mr. Gutteridge. Among other pieces were the overtures to Figaro and La Dame Blanche; a fantasia by Fessy, in which Mr. Thellusson had a prominent part for the cornet, which he executed with taste; and a fantasia on Sonnambula, by Mr. R. Nibbs, including the most popular airs from that opera, Mr. Thellusson Mr. Leullette, and the composer, being the executants. Miss Le Dieu and Miss Webster performed two pianoforte The miscellaneous part offers no salient point for criticism. pieces-the first a concerto, the second a serenade-in a manner that requires no further comment, than that the first-named lady executed with ease and facility, and has promise; and Mr. Hart played a fantasia on the violin. HAYMARKET THEATRE.-Mr. and Mrs. Sims Reeves commence their campaign on Easter Monday with English opera. A new work, from the pen of Mr. Henry Smart, is, we hear, likely to be brought out. We shall look eagerly for the announcement of its "first night.” ROYAL OPERA, DRURY LANE.-This establishment is announced to open for German and Italian Opera, on Easter Monday. A new opera, in German, composed by Mr. Aguilar, is stated to have been accepted, IBID.-The Glee and Madrigal Union gave one of their concerts at the Town Hall on Saturday evening. The programme was divided into three parts, and consisted of the most favourite English glees and madrigals. The harmonized song of Mendelssohn, entitled "Remembrance," sung by Mrs. Enderssohn, Mrs. Lockey, Mr. Lockey, and Mr. Phillips, is a beautiful and spark- DRURY LANE THEATRE.-Mr. Smith's Bal Masqué took place ling composition and enchanted the audience. Hatton's glee, on Thursday evening. There was a crowded and rather bois"Beware, she's fooling thee," obtained the first encore. Mr. terous audience. The decorations were good, the arrangements Lockey sang "The Queen's Letter." It is one of the war songs well carried out, and the dancing kept up with great spirit till of the day, and was encored. Of Mrs. Lockey's "When sorrow a late hour. Mr. Smith has announced some promenade concerts sleepeth, awake it not," we cannot speak too highly; she was for Passion Week. obliged to repeat it. Müller's glee, "Spring's delights," gained an encore, owing to the style in which it was sung. Mr. Bond was the accompanyist, and acquitted himself with ability. PLYMOUTH. Madame Escott gave a concert recently at St. George's Hall, under the patronage of Lady Mount Edgcumbe, Lady Morley, Lady Yarde Buller, and Mrs. Pole Carew. The concert was not so well attended as the bénéficiaire deserved, owing to the counter attraction of Mr. Newcombe's benefit at the theatre on the same evening. Mad. Escott sang, both with expression and execution, "Com'è bello" (Lucrezia Borgia), "Una voce" (Barbiere), which was encored, "Lo, here the gentle lark," accompanied on the flute by Mr. Richardson, and the ballad of "Charming May," in all of which she was greatly applauded. Miss Vinning's two harp fantasias were remarkably clever, much admired, and unanimously encored. Mr. Manvers, the vocalist, a favourite here, unfortunately had a cold, and could not do himself justice. Mr. Richardson, in a flute solo, sustained his reputation as one of the best performers in the world. The concert gave general satisfaction. THE EMPEROR OF THE FRENCH has been pleased, by special brevet, dated March 20, 1855, to appoint the Messrs. Robert Cocks and Co., of New Burlington Street, London, to be Music Publishers to His Imperial Majesty. IMMANUEL. The performance of Mr. Henry Leslie's oratorio, at St. Martin's Hall, has been unavoidably postponed until the evening of May 30th. It was originally announced for Thursday, the 29th inst. HARMONIC UNION.-The Messiah was performed on Wednesday evening, at the Hanover Square Rooms, by the members of this Society. Being the same night as that of the second concert of the New Philharmonic, the attendance was not so large as might have been expected. The performance, however, was excellent, and reflected the greatest credit on the Harmonic Union. With such principals as Mad. Clara Novello, Mr. Sims Reeves, and Mr. Weiss, and a conductor of such distinguished excellence as Herr Molique, a complete execution was ensured for the solos. PANOPTICON.-There has been some change in the amusements here during Lent. The diorama has been much improved by the removal of the history of Aladdin and the substitution of some views from sacred history. Among these is the passage of the Red Sea, accompanied during the representation by Händel's chorus, "But the waters overwhelmed their enemies." In the electrical experiments, Dr. Noad has been substituted for Mr. Birt, and the lectures have for the last week been agreeably varied by Mr. Buckingham's disquisition on the medieval ages in England. ST. GEORGE'S CATHEDRAL, SOUTHWARK.— Rossini's Stabat Mater, with full orchestral accompaniments, is to be performed at this (cathedral) church to-morrow. Some of our readers may probably feel interested to hear it, which is our reason for making the fact known. VIVIER has returned to Paris from Berlin. He is expected very shortly to come to England. Il fera bien. Perhaps, however, Vely Pasha, the Ambassador of Ambassadors, may entice him back to Turkey. 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. E. A. F. (Swansea). R. V. (Newton Abbott)-We have made use of as much as we could possibly find room for. W. B. (Wheatly).-Received, and will shortly be attended to. CURIOUS.—In the modern acceptation of the terms, the first is a partsong for three, four, or five voices; the last, a composition of a more contrapuntally elaborate character, allotted, like the German table-songs, to a chorus of voices. Let our correspondent compare Mynheer van Dunck" with "Down in a flowery vale," and he will at once perceive the difference. J. C. H. (Manchester).—We have much pleasure in publishing the THE selection, on Monday night, at the second concert of the Philharmonic Society, from the "drama" of LohengrinHerr Wagner's last completed work, the one in which his particular theories are most thoroughly developed, and which, in consequence, he avowedly esteems the most-was both interesting and strange. It was interesting, as the anticipated solution of a problem which had been previously looked upon as very hard to solve, if not insoluble, in this country; and strange, since it went far to upset all the preconceived notions of the system of "the future," as derived from "the books." Wagner's opera (Lohengrin) is a whole, and, therefore, only enjoyable and understandable as represented," says one of his most eloquent and fervid panegyrists. "To separate Wagner's music from his poem would be, so to speak, complete annihilation." "In Lohengrin the music seems merely to introduce lights and shadows into the picture, to adorn scenes and emotions, and render them clear and transparent; it only gives to the effect a longer reach, and extends it to those nerves which would have had otherwise no part in the enjoyment, and so draws the whole man into the magic circle. It never expatiates on its own account, or moves in the forms of a traditional or scholastic cut. You are always in the midst of an elaborate fully justified whole." And so on. Now these are not merely the opinions of Herr Robert Franz of Leipsic, but of Herr Richard Wagner himself, according to the doctrine laid down in his book, called Oper und Drama. Music is the woman, drama the man; and, as woman to man, so must music yield to drama-conveys, in a few words, his own posers, according to Wagner, have been wrong. The means figurative exposition of his theory. All the operatic comof expression (music) has been made its end (drama), and the end the means; and thus the actual drama-which he will have to be a combination of all the arts-has rested foolishly on the basis of actual music. The Greek drama is the only true drama that humanity possesses, and as that derives from the mythos, we must return to mythos, the beginning and end of all poesy. Thus the heroes of Wagner's operas-we beg his pardon, dramas-are myths. Tannhäuser is a myth. Lohengrin is a myth. Tannhäuser is a wandering minstrel, with whom we have nothing to do just now. Lohengrin is an enchanted hero, a knight of the " Holy Graal," who appears, in a skiff drawn by a swan, rescues a persecuted lady at a critical moment, and marries her on condition that she will not ask who and what he is; and when, of course, she does, is off again in the skiff drawn by the swan, leaving the persecuted lady to her fate. This, briefly, is Lohengrinthe "whole" Lohengrin, the drama, from which to divide the music, or any part of the music, would be "complete annihilation." work-a work written to establish the inseparability of the To wrench fragments of harmony and melody from such a arts-was scarcely wise in the Philharmonic directors to suggest or in Herr Wagner to permit. It was like giving you bits of egg-shell for breakfast, instead of "the whole' egg-since, without cracking metaphor, Herr Wagner's music, to his drama, may be figured as the shell to the egg, or at least as the albumen to the yolk. But the most provoking enigma was offered in the music itself. This was a shell at the best-an egg-shell, without a taste of egg, and no salt to give it a relish. Except a slow instrumental movement, describing the descent of the "Holy Graal," in which the composer hovers and flits for an indefinite space round and about the key of A, like Senora Nena with the hat at the Haymarket, and which-though arranged for the orchestra with great felicity, somewhat in the manner of M. Hector Berlioz-has no definable phrase or rhythm, little else, in short, but a sort of dull continuity, there was nothing in the selection that might not have passed muster very well for music of the past, or, at least, of the present. It was, so to say, as simple as a hammer-a kind of Nym's music-and that was "the humour of it." The second piece-a prelude and chorus in E flat, the music accompanying the bridal procession --would be unexceptionable, but for the odd notion of beginning the chorus a semitone higher than the original key, with no apparent object whatever. The "Wedding Music and Epithalamium," consisting of a noisy instrumental movement, "alla marcia,” in G, followed by a chorus in B flat-the leading tunes in either of which might be attributed to M. Adolphe Adam, "of the Institute," but for a certain progression, more startling than agreeable, from E major to A flat, through F minor રી THE MUSICAL WORLD. and D flat, which is a cut above the composer of the, Postillon de Lonjumeau-and a repetition of the "alla marcia,' made up the quantity of " Music of the Future" to which the Philharmonic subscribers were favoured on the present occasion. Now, if there was nothing more mysterious, incoherent, abstruse, and “ tone-defying" than all this in Lohengrin, we should be inclined to look upon the future art-doctrine as a hoax. Happily, the scores of Herr Wagner's operas have made their way to England, and those who have perused them are well aware that the fragments which, in their wisdom, the directors of the Philharmonic Society thought expedient to place before the public as examples of their new conductor's music, constituted nearly all that was possible to disentangle from the dreary labyrinth of accompanied recitative that make up the rest of Lohengrin. As it was, the public had no opportunity of speculating on the successful revolt against keys and their relations, by which Herr Wagner has illustrated one of his most furious dogmas. For a time, therefore, that great word-"Down with the tyranny of tone-families"-must remain a myth to the uninitiated. Is Herr Wagner himself a myth ?—or has he mistaken his vocation? A poet, and by all accounts a true one, was he, impatient at the subordinate position in which the operatic librettist, from the times of Gluck and Mozart to our own, has always stood with reference to the composer of the music, resolved, by making his own music as well as his own The last is not impropoetry, to escape the humiliation? bable, and indeed is in some measure established by the fact, But alas!-the quality of that he has invariably done so. excellence in two great branches of human labour or art is rarely given to the same man; and, though Herr Wagner, a radical reformer in everything, and in music more especially, tells us, in one sentence, that he was endowed from the first, by a certain little fairy, with all that constitutes genius, in another he professes to despise the "rotten" world, and to write only for a few-since none but the friends who know and love him can understand his work! Is it, then the province of genius to delight and instruct a narrow circle!— and are the immediate acquaintances of Herr Wagner to be sole judges of what is good and what is bad, sole dispensers of fame and pioneers of progress! If, as he insists, the problem of the poet (which means everything-the representative and administrator of all art) is to appeal to under"to the totality of the senses, and not standing and imagination," and that, in the drama we are really "made wise by feeling," it is to be feared Herr Wagner has yet much to learn before he can be said to possess the art of putting his theory in practice. Tannhäuser and Lohengrin, so far as we are familiar with them, have not by any means induced that "state of ecstacy and transport," that inconceivable "vibration of all the nerves," about which worshippers are magniloquent in pamphlets. Up to the present time "Young Germany" (with middle-aged Dr. Liszt, of Weimar, at its head) has preached in vain; Herr Wagner has only succeeded in setting the speculative musical philosophers of his Fatherland at loggerheads. The other countries have remained indifferent and deaf-not "stiff-necked," we trust, but unconscious. What time may The world is "rotten," effect, however, remains to be seen. no doubt, and if the "Drama of the Future," can, by Herr Wagner's intervention, arrest corruptibility, we shall be glad. Who would not rather be pure spirit, "a whole inseparable," than maggots ? than THE letters we are constantly receiving from various quarters, containing inquiries, not only about the general constitution of Her Majesty's Private Band, but the position and emoluments of its individual members, have suggested to us the conclusion, that it would be better to give our readers and correspondents at once, and in as few words as possible, the benefit of whatever information we possess, to keep the subject any longer on the carpet. We have now before us several communications, from gentlemen well known in the profession, seeking to be enlightened about the salary of this member, the grievances of that member, and the extraordinary degree of favour shown to the other member. We have also an explanatory letter from Mr. Horatio Chipp, which we have inserted in our first column. For the present, at least, we cannot afford space to any of the others; and indeed, as most of these are simply inquiries, it is unnecessary to produce them. Where we are unable to supply the information desired, it is useless to publish the inquiry; and, where the desired information is at hand, the answer serves every purpose without the question. Our journal is not, nor would it be convenient to make it, a catechism of the musical creed established within the walls of Windsor Castle and other royal palaces. Being, nevertheless, desirous of gratifying the curiosity of our supporters in reference to all subjects relating to the art whose interests we have the honour to represent, we have taken pains to ascertain as many facts as possible; and these, without farther preamble, we shall proceed to lay before our readers. The salary paid to 11. Sainton (first violin) we believe to It must be observed, however, that this is be 110 guineas. disbursed from the Treasury, out of the State Band Fund. M. Sainton is a member of what is denominated the State Band, which consists of about 45 members, whose duty is to play at the coronation of a new Sovereign. For this onerous service members receive each £45 annually. It is believed that Mrs. Anderson holds the appointment of first violoncello; while the other posts, if rumour may be credited, are chiefly held by retired valets and coachmen in the royal M. Sainton, though "Sergeant" of this State service. In consideration of the 110 Band of sinecures, is, according to report, the only member no better off on that account. guineas which he gets as "sergeant," he is expected to play gratuitously in the Queen's Private Band. Thus the principal violin costs Her Majesty nothing. Messrs. Edmond Chipp and Day (also first violins) are awarded £100 and £90 respectively. Messrs. Buols and Betts (second violins) have £100 and £80. * Messrs. Gunnis and Egerton (also "seconds") enjoy no are each in receipt fixed salary, but are paid when their services are required. The tenors, Messrs. Hill and of £80 a-year, with permission to attend the Opera and Philharmonic Concerts. The double bass, Mr. Pickaert, is at present, in a state of suspense. Like Mahomet's coffin, he may go up or down. It is undecided whether his salary will be fixed at £80 or £130. Messrs. Richardson and Card (flutes) are both paid £130. Mr. Williams (first clarionet) receives £130, and Mr. Egerton senior (second ditto) £100. The oboes, Messrs. Malsch and Horton, have £130 and £100 respectively Mr. Waetzig, first bassoon, is in receipt of £130; and Mr. Larkin, "second," £80. * We are unacquainted with the name of the other tenor. The six horns, trumpets, and trombones, enjoy, every one, a salary of £130. We should add that Mr. Nicholl, "arranger" for the Queen's Band, is awarded £130 as first violin, and £20 as "arranger." Mr. Cusins (nephew of Mr. Anderson) holds the post of violin in the band, and that of organist to the private chapel. He was originally taught the violin and organ, if we are not mistaken, by Mr. Edmund Chipp. The salary of Mr. Cusins (as that of Mr. Chapelmaster Anderson) is, like Lohengrin and Tannhäuser, a myth, which we are not in a condition to explain, nor do we intend to try. We have read about Edipus and the Sphinx. A sense of justice to royalty compels us to add that every member of the band is provided with a court uniform, and that at every performance he receives half-a-bottle of wine, which he is allowed to take away with him, with the understanding that he restores the bottle at the next concert. The liberal sum of eighteenpence is put into the hands of every musician at the conclusion of the performances, as the means wherewith to provide a wholesome and substantial supper. We have now perhaps nearly satisfied our most inquisitive correspondents on a variety of points relating to the constitution of the Royal Band. Why the second trumpets and trombones receive £130, and the violoncello and second bassoon £80, with other seeming anomalies, we are unable to determine. It is worthy of note, however, that the reduced terms have been imposed on those members who have joined the service during the last twelve years-in fact, since Mr. Anderson, like Peter the Great, established his dynasty at Windsor. We have been told-but cannot believe that all the £80 and £100 salaries were originally £130. Whereby would seem to hang another "myth." THE Amateur Performance announced for this evening at the Olympic Theatre is of a most interesting nature. Mr. Angus Reach, a gentleman well known in literary circles, and who had for nearly eighteen years been employed on the Morning Chronicle-first as parliamentary reporter, and afterwards as dramatic and musical critic-was, last summer, suddenly stricken with an attack of paralysis. The malady has defied remedial measures up to the present moment, and, for more than six months, Mr. Reach has been incapacitated from following his professional avocations; while his long illness and the consequent expenses have all but consumed the little hoard which thrift and care had enabled him to put by for his family. While engaged in writing for the Morning Chronicle, Mr. Angus Reach was no less distinguished for his ability than for the zeal and energy he displayed on all occasions. Indeed it is to this zeal and this energy, exhibited in a most remarkable degree, that his calamity is attributed; and, doubtless, had not the proprietorship of the Morning Chronicle so frequently changed hands, Mr. Reach would have been now enjoying that reward for his past services, to which he is so well entitled. Fortunately for Mr. Reach, he was as much beloved in private life as he was respected in public; and no sooner did his friends learn of the state his affairs, than they determined to afford him assistance in an honourable way, by which, while aiding him in a pecuniary sense, they would not incur the risk of wounding his feelings by proffering what might come under the denomination of "a gift." Mr. Angus Reach had written, joined others in writing, and translated sundry dramatic pieces for different managements. A benefit, there. fore, at one of the theatres was considered the most graceful means of accomplishing the desired object. Mr. Albert Smith, who is ever among the readiest with his heart and hand to help the needy, as soon as he understood that Mr. Reach's illness was likely to be of long continuance, canvassed his friends and acquaintances, and the members of the Garrick and Fielding Clubs in particular, and the result was the projection of a performance by gentlemen amateurs, which has long been announced, to take place this evening at the Olympic Theatre. Within one week from the time the day was fixed, every box, every stall, every available seat in the house was taken; and such has been the demand for tickets, that it is confidently anticipated the committee will be enabled to give a second night for the same praiseworthy end. Perhaps in no other country in the world would a writer, who had distinguished himself in literature, and who for many years had held a prominent situation on one of the leading journals of the kingdom, be allowed to stand in want of succour and assistance when illness had overtaken him in the discharge of his duties. Who has the management of the Literary Fund?-or to what purposes should its funds be applied, if not to relieve men of letters-more especially when merit and character present a double claim? We fear the influence of "red tape" is felt in other spheres besides those of Government; and that mismanagement and favouritism are not confined to the Horse Guards and Transport Service. To those who would learn more particulars of Mr. Angus Reach's health at the present moment, we are in a position to state that, though the effects of the paralytic attack are not likely to be surmounted immediately, his medical attendants entertain a confident hope that, with time and care, he will be enabled to resume his literary pursuits. SIG. CANTI, a music publisher of Milan, has announced his intention of publishing the posthumous work by Beethoven, entitled Studii de Beethoven Tattato d'armonia e di composizione, with notes by Fétis and Rossi. This work has not yet been published in Italy. SIGNOR PACINI, the composer, has received a medal from Rome, bearing a laudatory inscription, for having set to music the Hymn of the "Immaculate Conception." He has also received instructions to compose a sacred oratorio for the congregation of St. Filippo Neri. SACRED HARMONIC SOCIETY. delssohn's Lobgesang, in conjunction, by the members of the EACH subsequent performance of Mozart's Requiem and MenSacred Harmonic Society, presents an improvement on the previous one, and the pecuniary result, moreover, shows the wisdom of the directors in combining two masterpieces of such an opposite time and character in one concert. Separate, either would have been too short; together, the two compose an entertainment of just the length that is enjoyable and endurable. The variety of style and manner between the two masters is instructive to contemplate; many a lover of Mozart or Mendelssohn is attracted to Exeter Hall by the special desire of comparing his favourite with his rival. But there is really no comparison; you may contrast, but you cannot compare the "Service for the Dead" of the one with the "Hymn of Praise" of the other. The one is sombre, gloomy, full of tears, and mournful as the grave; the other, like the song of the lark, is jubilant, sung, as it were, at Heaven's gate, not light of heart, but with a depth and plenitude of joy that fills the eye even like unto sadness. In one thing only are the Lobgesang and Requiem to be assimilated: they are both chefs-d'œuvre, to be classed among the grandest inspirations of the musical art. |