That Mr. Costa took the greatest pains to ensure an efficient execution of both works, and that the members, instrumenta and vocal, exerted themselves strenuously to accomplish the intentions of the conductor, was clearly evidenced at the last performance, on Friday evening (last week). The audience of Friday night was fixed in attention from beginning to end, and, with scarcely any exceptions, remained until the last note. The directors have fallen into one mistake, which we have pointed out before, if we remember well. The Lobgesang should come after, not before the Requiem-not merely, as a morning contemporary has suggested, because Mozart lived, wrote, and died before Mendelssohn, and he himself, by universal consent, holds the first place among composers; nor because modern instrumentation has advantages which were not afforded to musicians of the preceding age, and, therefore, the least elaborate and varied should come first; but rather, because the Requiem, being a Service for the Dead, and the Lobgesang a Hymn of Praise, the performance should terminate with the most jubilant composition, as being more satisfactory, and more in accordance with the conventional arrangement of musical programmes. For this reason, a "Hallelujah" chorusa hymn of praise in miniature-seems the natural conclusion to a sacred performance. By changing the relative positions of the Requiem and the Lobgesang, we think no greater attraction could be offered to the public by the Sacred Harmonic Society. The execution of both works was highly creditable; but, as the Requiem presented far less difficulties to the chorus and principals, it was freer from reproach than the Lobgesang. Indeed, with the exception of a retardation in the times of the allegro in the three-part symphony, the fugue in the "Kyrie Eleison," and "Cum sanctis tuis," the performance of Mozart's "Service" left little to the most fastidious to desire. The principal vocalists-Mad. Clara Novello, Mrs. Lockey, Mr. Sims Reeves, and Mr. Weiss-distinguished themselves eminently. We have seldom heard, off the Italian stage, such quartetsinging as in the exquisite "Ricordare," and the "Benedictus." The chorus too, for the most part, was excellent, and sang with power, clearness, and just intonation. In Mendelssohn's work this was not always the case, and a slight unsteadiness in taking up the points in the choral movement, "Ye nations," and some uncertain intonation in the pathetic chorus in G minor, “All ye that cried unto the Lord," were specks upon the smoothness of the general performance. In other respects, the chorus was entitled to high praise. We would more especially call attention to "The night is departing," which, for precision and grandeur of effect, has been rarely heard surpassed. The accompanied chorale in unison which succeeds, "Glory and praise to God," and the final chorus, "Sing ye the Lord"-when the sopranos took the high B flats with splendid force and faultless intonation were also finely sung, and remarkable for point and clearness. In a different style, but not the less to be commended, was the subdued manner in which the voices accompanied the duet "I waited for the Lord," sung to perfection by Mad. Clara Novello and Mrs. Lockey. The great tenor solo, "The sorrows of death," with the recitatives, in which occur, three times repeated, the interrogatory, Watchman, will the night soon pass?" was magnificently read and magnificently sung by Mr. Sims Reeves. The manner in which, at each repetition of the interrogatory, he took the phrase a semitone higher-a happy and legitimate idea of the composer-was perfect, and the intensity of feeling displayed in his entire conception was worthy of the music thus conceived. The chorus to which the solo conducts-the finest in the cantata-with the solo itself, constituted the greatest "facts" in the execution of the Lobgesang. 66 PHILHARMONIC SOCIETY. THE second concert, which drew a very large attendance on Monday night, provided a more favourable opportunity of considering the merits of Herr Richard Wagner as a conductor; and, in addition to this, brought him for the first time before the Philharmonic audience as a composer. The selection, as will be seen, was more than usually interesting: Weber. Cherubini. Mendelssohn. Wagner. . Beethoven. We may begin by saying that the band has not yet learnt to comprehend-or, at least, does not appear to be over ready and eager to follow with that undeviating attention indisputable to a good performance-the motions of Herr Wagner's baton. For our own parts, the more closely we observe, the less we can understand him. He seems to have no fixed basis upon which to found, no system to render intelligible, his manner of beating. Under these circumstances it was not surprising that the familiar overture to Der Freischütz-which, to make matters more perplexing, was full of new readings," retardations and accelerations of time, etc. (some of which would have surprised the composer, had he been alive to hear them)-did not go with quite as much precision as was desirable. Much of Herr Wagner's expression is decidedly poetical, nearly all of it is original, and has a presumptive meaning; but he takes far too many liberties. There is no clear reason why every phrase of melody should be coaxed into a slower measure than the rest, according to the invariable practice of the new conductor. Employed so frequently, this contrivance results in absolute monotony. Nor was there any warrant in "tradition" (to say nothing of effect) for taking the opening movement in Weber's overture as slow as though it formed part of a burial service; still less for gradually diminishing the fortissimo in the two sustained chords that introduce the coda; least of all, for weakening the force of that animated climax, by suspending the "piu mosso,' or increased rapidity, until after the first four bars. These "readings" are new, but they are not good. Others were more to the purpose, and the overture was encored. The Ninth Symphony, which has never yet gone entirely well at the Philharmonic concerts, in some respects never went so loosely as on the present occasion. The first movement was all "higgledy piggledy "-we really can find no term more expressive of the general sense of fidgetty unsteadiness it conveyed. More than once it seemed as though all would go to pieces; but, by good luck, the end was actually attained without a break down. About Herr Wagner's peculiar notions of this sublime movement, and of the manner in which it should be played, we cannot pretend to offer an opinion; since, whatever may have been his intentions, they were by no means carried out. The scherzo was quite another affair; the reading was the best we ever heard, and the execution almost perfect. The performance, indeed, of this extraordinary inspiration was gratifying from first to last. We cannot say so much for the slow movement, where the flow of melody, which Beethoven meant to be unceasing, was, in the first place, impaired by the almost creeping pace adopted by the conductor, and, in the next, broken and interrupted by "rallentandos" as vexatious as they were frequent and unaccountable. The expedient of slackening the time is used by Herr Wagner with singular capriciousness, and to an excess that passes the limits of ordinary exaggeration. In this respect he becomes, at intervals, rather a tormentor than a conductor of the band. We by no means think that license should not be accorded to every orchestral director of intelligence to impress, as far as that is possible, his own feeling of the music he is directing upon those who act under his guidance; but a band is not like a pianoforte, upon which a dozen players may play, each in a wholly different manner, without injury. The orchestra is a collection of living instruments, of flesh and blood, and cannot be reduced to the unconscious submission of a piece of mechanical workmanship. It is, therefore, evident, that, while every musician of authority justly claims attention to his own style of reading in reference to the works of great masters, there must be starting points upon which all agree; otherwise it is impossible for any orchestra to feel at ease when a new hand is controlling them. The members of the Philharmonic band found no difficulty in executing any of the pieces of their répertoire under Mr. Costa's direction, after being long accustomed to that of Mendelssohn and others; and yet no two men differed more widely in their musical feelings than Mendelssohn and Mr. Costa. The one was pure German, the other is pure Italian; but there were certain fixed principles to which both assented; and those principles, whatsoever they may be, should be common to conductors. In the choral part of the Ninth Symphony, which never hung well together, Herr Wagner gave glimpses of an elevated and intellectual conception; but they were only glimpses, since the realization was not there; the players and singers were not to the conductor-which should always be the case-as the act to the will, the instant and faithful accomplishment of his thought. To them a wave from Herr Wagner's stick was a wave from his stick, and nothing more just as a tree was but a tree to Wordsworth's Peter Bell. The old saw, about too much familiarity breeding contempt, does not hold in this instance. There cannot be too much familiarity between a conductor and his orchestra-we mean, of course, in their official capacities. At present there is not enough between Herr Wagner's bâton and the combined intelligence of the Philharmonic fiddlers. Time, however, works wonders-and not to play upon the word—a beater of time should be able to mould time to his purpose. We shall see, before the season is over, whether Herr Wagner is to be styled the conductor, as well as composer, "for the future." There is no chapter on that head in "the books." To the selection from Lohengrin we have referred at length elsewhere. The execution, so far as the orchestra was concerned, merited high praise; but the vocal parts were sadly confused. There was not much of the mystic "future" in any of this selection except the first piece, describing the descent of the holy "Graal." The rest was light and brilliant enough, but presented neither a new point nor a fresh idea. The applause was partial. What the audience in general thought of it we are unable to say. What we thought of it ourselves might be conveyed in one word. We have only space to add that Mrs. Lockey sang Cherubini's tuneful aria admirably; that Mr. Blagrove created a legitimate sensation by his very clever artistic performance of Mendelssohn's concerto; and that Mad. Weiss, Mrs. Lockey, Messrs. Lockey and Weiss, were highly painstaking and zealous in the solo parts of the Choral Symphony, which, if not quite impracticable to ordinary voices, are not a long way from it. NEW PHILHARMONIC SOCIETY. THE second concert, on Wednesday night, in a pecuniary point of view, was more successful than any concert ever given by the new Society. Nearly £400 was realized, after all expenses paid, for the funds of St. Mary's Hospital, Paddington, in aid of which the profits were to be devoted. Exeter Hall was filled in every part, as though it was a Messiah, or an Elijah night. Her Majesty and Prince Albert, too, patronised the concert; so that there were abundant reasons why Wednesday night last should be successful. The programme, which we annex, could not fail to enhance the attractions: (Violin, Herr Ernst). Recit and Rondo (L'Etoile du Nord) • Overture (Ruler of the Spirits) ... The great point in the performance was Beethoven's symphony, which we have rarely heard executed with more fire and precision, and in which the conductor proved himself quite equal to the task of directing a vast orchestra. A more faithful reading of the C minor symphony could hardly have been obtained. The impression was unanimous, and every movement was greeted with loud applause. Mendelssohn's concerto could not have been entrusted to more efficient hands than those of Mr. Lindsay Sloper, whose refined taste, brilliant execution, and perfect finish of style, were never more conspicuous. Mr. Sloper did well to select the second pianoforte concerto, which is so much less common to musical audiences than the first, although perhaps the first would have been easier understood by the patrons of St. Mary's Hospital. He played on a Broadwood pianoforte, of a calibre which the French would call "désespérant" for the makers. The finale was a prodigious display of clear and rapid execution, of which every note, in arpeggio and melody, was heard with the utmost distinctness. At the end, Mr. Sloper was warmly applauded. The selections from the Ruins of Athens included the introductory chorus, the plaintive duet of the Greek slaves, and the wild and imaginative chorus of Dervishes. The duet was nicely sung by Miss Stabbach and Mr. Hamilton Braham, and the last chorus remarkably well executed by the chorus (which numbered nearly 200) and the band. The selection from Comus was extremely clever, extremely melodious, well instrumented, characteristic, and not like Mendelssohn. Every justice was done to Mr. Horsley, who conducted the performance himself. Miss Stabbach sang the accompanied recitative, "This way the noise was," and the very graceful and flowing air which follows, "Sweet Echo," in her best manner. and with decided effect. The chorus, "Come, let our rites begin," which indicates a real dramatic feeling, and the march of Comus and his rabble, full of spirit and idea, were also effectively given. On the whole Mr. Horsley's position as a musician of talent was once more confirmed in a very unqualified manner by the selection from his masque of Comus. Herr Ernst played his celebrated Otello fantasia as grandly as ever, and with his usual effect. He was rapturously applauded at the end. Mad. Anna Thillon sang two songs-Mozart's "Non temer," and the popular rondo from L'Etoile du Nord. In the last she was most successful. The first was unsuited to her, and was mutilated in an extraordinary fashion-the slow movement omitted, and the accompaniments allotted partly to the orchestra and partly to the pianoforte. What would Mozart have said? Happily the pianoforte obbligato was entrusted to no less able and intelligent a performer than Mr. Aguilar. The great success of one of Mendelssohn's beautiful part-songs at the first concert justified the directors in introducing another at the second. This was the charming "O hills, O dales," which was capitally sung by the chorus, and unanimously redemanded. The three overtures were Beethoven's Coriolanus, Weber's Oberon, and The Ruler of the Spirits. All were finely played, more especially Oberon. The most interesting, because the least hacknied, was the Coriolanus, which, though composed for a forgotten German tragedy, is instinct with a peculiar fire, passion and fitful impetuosity, as though Beethoven had thought of presenting a musical suggestion of the character of Shakspere's proud and passionate Roman. On the whole, the concert was a fine one, but the programme bordered too closely on the Old Philharmonic style. Dr. Wylde and the directors must "ware" "convention." They began by being reformers, and must not fall back on "conservatism." They have led their subscribers to expect new works, and they do expect them. The subscribers, it must be remembered, are not quidnuncs, bag-wigs, and pastworshippers. The New Philharmonic must continue to show an onward tendency. Stand-still would be as fatal as retrogression. Must we assume the station and rank of policeman to the Young Society, and cease not to cry-"Move on?" We hope not. The Requiem and mass of Cherubini, the Faust and Romeo (or rather Juliet-she is happiest painted), of Berlioz, and a dozen more new and important works, which Dr. Wylde and his advisers have been instrumental in bringing before the London musical amateurs, forbid! THE MUSICAL WORLD. MUSICAL WINTER EVENINGS. THE last "s tting" was sat on Thursday evening, in Willis's Rooms, by an elegant and numerous company. The performance was as good as the programme, which is saying much, and the audience able to appreciate both, which is saying more. The selection was as follows: Quartet, A minor, Op. 44 (No. 8) Duet, for two pianofortes Molique. {Mendelssohn & To hear Molique in one act, and Ernst in the other, was a treat such as amateurs of the violin seldom enjoy. Both so great, and yet so opposite; both so true, and yet with a different eloquence! Their instruments spoke, as it were, two distinct languages, each harmonious and beautiful, yet each with another accent, fall, and cadence. Such artists cannot be rivals-but friends, emulating the one the other, in a love for art and a zealous desire to elevate it. The two quartets were equally at variance. Molique's (a new one, and played for the first timewhich impels us to thank Mr. Ella for swallowing his own words), so learned, ingenious, and full of grace; Beethoven's, so impulsive, playful, energetic, and even simple? Masterpieces both, flowing from widely distant springs of thought and feeling, they impressed the audience in almost an equal measure. Both were gloriously executed—the first led by the admirable composer himself, the second by the imaginative Ernst-and both were hotly applauded. Goffrie, Hill, and Piatti were, as usual, irreproachable. Herr Pauer exhibited the utmost vigour and animation in his performance of Schubert's interesting and very unequal trio (given for the first time—which impels us to thank Mr. Ella for which evidently pleased the audiswallowing his own wordsought forward to the s sittings" of the Musical Union, which will be sat shortly by the aristocratic patrons of the Director. The famous duet of MendelssohnMoscheles, or Moscheles-Mendelssohn (the variations on Weber's support of the accord, which was scarcely known, nor of melody, I grant that this reply of the Canon sounds somewhat pedantic and insolent; it smacks somewhat of its own age, and there will be very many men whom it will displease in their present time. Nevertheless, the answer is in certain points correct, nay instructive; and it pains me that people, who have thought so much about the Canon, and said so much about bad taste, Gothic style, Flemish barbarism, etc., have not better understood it. It would have shown them that musical art followed quite logically the course it was obliged to enter, in passing from canonical counterpoint to harmony, and from harmony to melody, instead of beginning with this latter. ISS LOUISE CELLINI begs to inform her friends and the public that she has arrived in London from Italy and Vienna, for the musical season here. All applications for pupils and vocal engagements to be addressed to her residence, 28, Bedford-square. Gipsy Chorus in Preciosa) was famously interpreted by Mr. M The violoncello solo of Sig. Piatti was a miracle-of tone, style, and execution. And thus terminated brilliantly the fourth series of Musical Winter Evenings. A REVIEW OF THE HISTORY OF MUSIC (Continued from page 146.) WHEN We look upon these master-works of patience and ingenuity; these calculations, in which not the remotest account is made of melody and harmony; these problems, in whose solution we find nothing that resembles music; this toilsome labour, which smelled so of the lamp, of octaves and of quints, we are tempted to ask: "Canon, what wilt thou of me?" as a learned Frenchman asked of a sonata. Not being acquainted with the latter, I cannot say what answer it made. But as it respects the canon, this replies very clearly and intelligibly: "I wish that you should recognize in me the product of a necessary striving, which alone could lead art to the goal of its high destiny. I demand respect and gratitude of the friends of music. Name to me anything great and enduring among the commonly so ephemeral productions of music, in which I have not participated largely. Rightly understood, I am the chief pillar of sublime church music, of the grand instrumental music, and good chamber music; and those who would banish me entirely from theatrical music, thereby doom themselves to die young. If, to be sure, I appear ludicrous and meagre in the fifteenth century, the reason lies in this, that I had neither the nounce that (her engagement in Scotland terminating the latter end of the MISS FANNY HUDDART begs respectfully to anpresent month) she will return to town for the season on the 2nd of April. 6, Bessborough-street, Pimlico. MR. R. F. EDWARD BACHE begs to acquaint his friends that he has returned to town from the Continent, and will be happy to resume his instructions in Pianoforte Playing and Composition. For further particulars, address Mr. Bache, at his publishers, Messrs. Addison and Co., 210, Regent-street. Would beneficent ladies father (in his 84th year), reduced to much adversity. condescend to receive very superior LESSONS on the PIANOFORTE? She is a pupil of one of the best masters, a brilliant and scientific player, and, as a teacher, Terms, six finishing or other lessons, one guinea. has perhaps no superior. Address S. S., Post-office, Paddington. PITY. A Professor of Music, little known, is, with her RS. JOHN MACFARREN has the honour to announce will be assisted by M. Sainton, Signor Piatti, and other distinguished artists. place at the New Beethoven Rooms, Saturdays, May 19 and June 16, when she Double subscriptions, £1s. 1s.; single tickets, 78., to be had at Ebers's Library, Old Bond-street, and of Mrs. John Macfarren, 40, Stanhope-street, Gloucester-gate, Regent's-park. FRANK MORI; Leader, Mr. THIRLWALL. Including Messrs. Barret, Lazarus, Baumann, Rémusat, Lovell Phillips, Prospère, Mount, Mann, Cioffi, Zeiss, Tolbecque, Nadaud, Chipp, &c. For terms apply to Mr. A. Guest, 1, Kingston Russell-place, THE LONDON ORCHESTRA. — Conductor, Mr. Oakley-square, Camden-town, or Messrs. Cramer, Beale, and Co., 201, Regent-street. GOTHIC HARPS, Double-action, with every improve. To be Published by Subscription on the 19th of April, Haarnack, Harp Maker, 35, Berners-street, Oxford-street. Harps repaired, redecorated, strung, and regulated at moderate prices. N.B.-32 years experience in Harps. PIANOFORTES.-J. Marsh, Pianoforte Manufacturer, begs to inform his friends in the Trade he has given up his Ware-rooms, in New Bond-street, and taken a residence in Store-street, Bedford-square, near the Manufactory, to enable him to give his undivided attention to the Manufacturing Department. Letters to be addressed 13, Store-street, Bedford-square. TTALIAN VIOLIN STRINGS.-Messrs. BOOSEY AND SONS beg to inform the amateurs and professors of the above instrument, that they constantly receive consignments of the best Italian Strings from the first makers in Padua and Naples. The prices per bundle, &c., may be had at 23, Holles-street. THE CHEAPEST CONCERTINA.-Messrs. BOOSEY above the cost price, for the express purpose of superseding the worthless instrumont called the German Concertina, which, from having but half the proper number of notes, is thoroughly useless in a musical sense. Case's Four-Guinea Concertina has double action and full compass, and is a perfect concert instrument. A Post Office Order for Four Guineas will ensure the delivery of one in any part of England. Case's Concertinas may also be had of every quality and price, from Instruments exchanged and let on hire. Boosey and £4 4s, to £12 12s, each. Sons' Musical Instrument Warehouse, 28, Holles-street. MR. WM. STERNDALE BENNETT respectfully MANCES of CLASSICAL PIANOFORTE MUSIC this season will take place at the Hanover-square Rooms, on Tuesday Evening next, April 3, to commence at half-past 8. Vocalist-Madame Clara Novello: instrumentalists-Herr Ernst, Signor Piatti, and W. Sterndale Bennett. The vocal music will, on this occasion, be entirely sacred. Single tickets, 10s. 6d. (to subscribers, 78.), to be had of Messrs. Leader and Cock, 63, New Bond-street; and of Mr. W. S. Bennett, 15, Russell-place, Fitzroy-square. The last performance on Tuesday, May 1. Lo ONDON SACRED HARMONIC SOCIETY, ExeterHall. On the TUESDAY in PASSION WEEK, April 3rd, Mendelssohn's ELIJAH. Principal Vocalists :-Miss Birch, Miss J. Wells, Miss M Wells, Miss Clara Henderson, Mr. G. Perren, Mr. Cotterell, Mr. Tillyard, Mr. J. B Husk, and Mr. Lawler. The Band and Chorus will consist of nearly 800 Performers. Conductor, Mr SURMAN, founder of the Exeter-Hall Oratorios. The Subscription to the Society is One, Two, or Three Guineas, per Annum. Members and Subscribers now joining will receive Three or Five Tickets for this Performance. Single Tickets, Area, 3s; Reserved, in the Area or Gallery, 58; Central Reserved, 103. 6d. Only Office. 9, Exeter-Hall-where may be obtained the Exeter-Hall Elition of the Oratorios. SIR HENRY BISHOP'S MUSIC, EXETER HALL In consequence of the great success which attended the concert on Tuesday, a SECOND and LAST EVENING CONCERT, on the same extended scale, with complete chorus of Two Hundred voices, will take place, under SIR HENRY BISHOP'S personal superintendence, on MONDAY, April 16. Mitchell's Royal Library, March 28. EXETER HALL-MR. GEORGE CASE begs to announce that his ANNUAL CONCERT will take place on Wednesday Evening April 11. Vocalists:-Madame Anna Thillon, Mrs. Sims Reeves, Madame Weiss, Miss Poole, Miss Rebecca Isaacs, Miss Featherstone, Mrs. Henri Drayton, Miss Ransford, Miss Fanny Huddart, the Misses Brougham, Miss Stabbach, Miss Julia Harland, Miss Lizzy Stuart. Miss Rose Braham, and Madame Rudersdorff; Mr. Sims Reeves, Mr. Augustus Braham, Herr Reichart, Mr. G. Perren, Mr. Genge. Herr Zelger, Mr. Weiss, Mr. Henri Drayton, Mr. Hamilton Braham, Mr. Charles Cotton, Mr. Farquharson, and Mr. Frank Bodda. Instrumentalists:-Mlle. Coulon, Miss Rosina Bentley, Miss Case, Mr. W. H. Holmes, Herr Kuhé, Herr H. Bobrer, Herr Gollmick, Mr. Frederick Chatterton, Mr. R. S. Pratten, Mr. Lazarus, M. Baumann, Mr. T. Harper, Mr. C. Harper, Signor Cioffi, Mr. Howell, Messrs. G. and J. Case. The orchestra will be complete. Leader, Mr. Viotti Collins. Tickets, 1s., 28., 28. 61., and 38.; Stalls, 58; to be had at the repository for Case's concertinas, Messrs. Boosey and Sons', 28, Holles-street, Cavendish-square; at Mr. C. Case's, 34, Bishopsgate-street-within; at the Exeter-hall ticket-office; the principal music-sellers and libraries. ST; T. MARTIN'S HALL.-Monday, April 2, 1855, and Every Evening. at Eight o'clock (Fridays excepted). Miss P. HORTON'S ILLUSTRATIVE GATHERINGS. Mrs. T. German Reed (late Miss P. Horton) and Mr. T. German Reed will have the honour of presenting their New Entertainment, consisting of Musical and Characteristic Illustrations, introducing a variety of amusing and interesting characters from real life, including English, French, and Italian Songs. Admission, 1s. Centre Seats, 28.; Stalls. 38. To commence at Eight and terminate at Ten o'clock. Tickets to be had at St. Martin's Hail, and all Music-sellers. K EATING'S COUGH LOZENGES.A CERTAIN REMEDY for disorders of the Pulmonary Organs-in difficulty of Breathing-in Redundancy of Phlegm-in Incipient Consumption (of which Cough is the most positive indication) they are of unerring efficacy. 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A1 LBINOLO'S OINTMENT having been forwarded by the Army Medical Board to the Hospital at Sentari, 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. 6i., 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. [MPROVED SYSTEM OF PENMANSHIP, by MR. 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Price 3s. 6d. 78; Family Bottles (equal to four small), 10s. 6d. ; and double that size, 21s.ROWLANDS' KALYDÔR, FOR THE SKIN AND COMPLEXION, is unequalled for its rare and inestimable qualities. The radiant bloom it imparts to the cheek; the softness and delicacy which it induces of the hands and arms; its capability of soothing irritations, and removing cutaneous defects, discolorations, and all unsightly appearances, render it indispensable to every toilet. Price 4s. 6d. and Ss. 6d. per bottle-ROWLANDS' ODONTO, OR Pearl DentiFrICE, prepared from Oriental Herbs with unusual care. This unique compound will be found of inestimable value in preserving and beautifying the teeth, strengthening the gums. and in giving sweetness and perfume to the breath. Price 2s. 9d. per box. Sold by A. ROWLAND and SONS, 20, Hatton-garden, London, and by Chemists and Perfumers. Beware of Spurious Imitations!!! forte, by T. SCARSBROOK, price 48. 6d. Contents: Exercise on the Major Seale of five, six, seven, and eight notes through all the keys; ditto, on Chords of three notes in three positions on every degree of the scale through all the keys. The The Minor Scales; ditto, with the seventh sharpened only. The scale extended to two octaves, in the keys of C, C sharp, and C flat Major. Exercise on Chords of four notes in three positions on every degree of the scale, in C, C sharp, and C flat. The relative minor scales to the preceding. Exercises on Thirds and Sixths. Chromatic Scale; ditto, in thirds and sixths. The accompanied scale in the Treble; ditto, in the Bass. The Harmonized Scale, with six characteristic variations. Exercise on Octaves in similar and contrary motion, on the favourite Irish air, "Garry Owen," in the keys of C, B, and D flat. Published by Crainer, Beale, and Co., 201, Regent-street. and private ball, theatre, and casino throughout the country. Orchestral parts, 5s each; Septet parts, 3s. 6d. each. The pianoforte copies are illustrated by Brandard and other artists. Boosey and Sons, 28, Holles-street. VAI ALSE DU CARNAVAL, by HENRI LAURENT. Pianoforte, 3s. Boosey and Sons, 28, Holles-street. TILIKINS WALTZ, by HENRI LAURENT. Pianoforte, 38. Boosey and Sons, 28, Holles-street. GALOP DES GUIDES, by HENRI LAURENT. forte, 2s. 6d. Boosey and Sons, 28, Holles-street. Piano ZOUAVES' POLKA, by HENRI LAURENT. Pianoforte, 2s. 6d. Boosey and Sons, 28, Holles-street. H IGHLANDERS' QUADRILLE, by HENRI LAURENT. L Pianoforte, 3s. Boosey and Sons, 28, Holles-street. EONORA WALTZ, by HENRI LAURENT.-Pianoforte, BR 38, Boosey and Sons, 28, Holles-street. RIDE OF LAMMERMOOR QUADRILLE, by F. G. RIGOLETTO QUADRILLE, by F. G. Pianoforte, 3s. Boosey and Sons, 28, Holles-street. TINNEY. SONNAMBULA QUADRILLES, by F. G. TINNEY. Pianoforte, 3s. Boosey and Sons, 28, Holles-street. THE BULGARIAN POLKA, by G. MONTAGNE. – Pianoforte, 2s. 6d. Boosey and Sons, 28, Holles-street. WALTZES, by G. STARS OF THE WEST MON LUNE DE MIEL WALTZ, by G. MONTAGNE.—Piano forte, 3s. Boosey and Sons, 28, Holles street. PHELIA WALTZ, by ALBERT WAGNER. Pianoforte 4s. OPHI BA Boosey and Sons, 28, Holles-street. ALTIC GALOP, by ALBERT WAGNER. Pianoforte, 2s. 6d. TALIE POLKA, by GAVIOLI. PUBLISHED THIS DAY, price 28. each, SIX SONGS, K written by Longfellow, Lowell, Melopoyn, and Miss Emily Ham. The music composed and dedicated to Miss Cushman, by ELIZABETH PHILP: No. 1.-Oh! had I the voice of a bird. 2.-The Sea hath its pearls. 3.-Moonlight. 4.-From the close shut window. 5. The Soul and the Sea. Lon lon: Cramer, Beale, and Co, 201, Regent-strect; and R. Mills, 140, New Bond-street. Boosey and Sons, 28, Holles-street. Pianoforte, 2s. 6d. ONIGSBERG POLKA. Anonymous. Sixth edition. Pianoforte, 2s. Boosey and Sons, 28, Holles-street. ENCHANTRESS POLKA. Third edition. Pianc forte, 2s. Boosey and Sons. 28, Holles-street. A VARSOVIANA, danced every evening at the LA Argyll Rooms. Composed by HENRI LAURENT. Price 2s. Boosey and Sons, 28, Holles-street. JUS UST PUBLISHED.-The Crescent Galop, price 2s. 6d. Also, by the same composer, Varna Valse (the profits arising from the sale of EINAGLE CAROLINE.-Sonata for Pianoforte, price Valse, price 2s. 6d. ; and Inkermann Fantaisie, price 2s. 6d. this work will be presented to the Patriotic Fund), price 2s. 6d. The Sunbeam Published for the REINAGLE CAROLIN Author, by Boosey and Sons, 28, Holles-street. |
