opera, not the fault of those which succeeded. The essential quality which did not belong to him by instinct, was not supplied him by experience. This has not prevented M. Clapisson from being elected a member of the "Institute," but it has considerably interfered with his success. Not one of his operas has been popular. In writing the music of La Promise, M. Clapisson has too well remembered that he was composing for an audience less exacting in its taste than that of the Opéra-Comique. To bring himself within the comprehension of the spectators of the Théâtre-Lyrique, he has fallen into vulgarity. This not unfrequently happens to composers, who, not being naturally possessed of lightness of style, endeavour to assume a free and easy gait. M. Auber makes himself intelligible to the most unskilled in music, his gay and lively airs are within the scope of every man's understanding, but he never oversteps the limit which divides the comic from the trivial. The secret of doing this M. Auber has not communicated to M. Clapisson. If I mistake not, this opinion is shared by the critics in London, in whose remarks upon La Promise last year it is impossible to deny that there was much truth, though the truths they contained were probably not very palatable to M. Clapisson and his friends. BERLIN. (From our own Correspondent.) GRAUN'S Tod Jesu has been given with great success in the Domkirche, which was crammed to suffocation. The principal parts were sustained by Mdmes. Köster, Hahnemann, Herren Mantius, Krause, and Sabbath. The choruses were executed by members of the Singacademie. Herr Grell conducted, and the members of the royal orchestra lent their valuable aid. A few days ago, the pupils of the Joachimsthal'sches Gymnasium executed Löwe's oratorio of Huss, under the direction of Dr. Hahn. As this oratorio is not adapted for a church, and is rarely performed, the selection was very gratifying to the admirers of the composer. The soli and choruses were effectively given, especially the "Gipsey chorus" and the conclusion, after the melody "Eine feste Burg." J. S. Bach's Passionsmusik is announced for Good Friday. The sensation created by Miss Goddard among musicians and lovers of music is unexampled. People appear to talk of nothing else, except it be the isolation of Prussia from the Vienna conferences. Although it is now some time since she gave her second concert, the impression remains as vivid as ever. The press is unanimous in her praise. From a host of criticisms, I select at hazard the following, which, with those of Herr Rellstab and the others you have already received, will serve well to show how warmly the young English artist is appreciated. The National Zeitung of the 25th ult., says: "The second concert given by Miss Goddard, on Wednesday, in the room of the Singacademie, attracted a very numerous audience. The great feature of the evening was Beethoven's grandest and most difficult sonata (in B flat, op. 106), which had previously been considered impracticable, and at the bare mention of which all right-minded musicians devoutly crossed themselves. For a long time, like the Ninth Symphony, it was regarded as the abortion of a shattered mind; the secluded maestro had rummaged up all kinds of eccentric ideas in his old age, and wishing to mystify the world, had written this wild strangemusic, without a glimpse of common sense. We have now, by the study of Beethoven's earlier productions, gradually progressed so far towards understanding his later works, as at least to recognise in the first three movements of the Sonata everlasting models of this kind of composition. The proportions which the first allegro attains are indescribably daring and grandiose. .. Miss Goddard played the Sonata with astonishing power, decision, and correctness. The execution of the concluding fugue, which had hitherto been hazarded in public by Liszt alone, in a technical point of view, the most difficult feat that can be attempted by a pianist, and the facility with which it was accomplished on this occasion, entitle the fair artist to one of the first places among the pianoforte aristocracy of the present day. The distinguishing qua lities of her style are her quietude, clearness, and discreet moderation, in the greatest as well as smallest details. Miss Goddard is entirely free from the obtrusive tricks of virtuosi, and renders, simply and faithfully, without any outward fuss, the full intentions of the composer. "The whole concert produced an especially serious and edifying im pression, modern show-pieces being completely excluded. In addition to Beethoven's work, we had a very simple sonata by Mozart, for pianoforte and violin, and one of the early compositions of Mendelssohn-namely, his fiery and imaginative quartet in B minor, for pianoforte and stringed instruments. The bénéficiaire, who was supported by Herren Ganz and Grünwald, was rewarded after each part with the most sincere marks of applause." The following is the opinion of the critic who writes for the Berlinische Nachrichten von Staats-und Gelehrten Sachen, in the number of the 23rd ult. : "The concert which Miss Arabella Goddard gave on Wednesday, in the Singacademie, was most numerously attended. The great merit of the fair pianist's style is already generally known. The union of such qualities as fulness and power of tone, the most blameless purity and certainty of technical execution, and quiet, calm conception, raises her to an equality with the first living pianists. In addition to this, she is so free from all the usual virtuoso-like vanity, that, as on this occasion, she entirely renounces the composition which pleases the Salons. It has scarcely ever happened before that a pianist who gave a concert the public, and afford an opportunity of displaying the art of execution selected so few of those ad captandum pieces which are favourites of in its most taking colours. Mendelssohn's quartet in B minor (in which Herren M. and Ed Ganz, and Herr Grünwald, lent their valuable assistance), Mozart's Sonata in B flat, for the pianoforte and violin, and Beethoven's colossal Sonata in B flat, op. 106-these, and no more, comprised the fair artist's programme. In the execution of Beethoven's Sonata, the fourth movement of which especially contains almost insuperable difficulties, Miss Goddard proved herself an artist of the very first rank. Not a note was lost, and in no instance were the calm and certainty of her execution in the least disturbed. It is movements Beethoven soars to regions whither it is difficult to follow no easy matter even to understand the work. In the third and last him. It is a piece of daring, and a sacrifice of one's self, to play such music in public; and so much greater, therefore, must we acknowledge the merit of the attempt when so eminently successful." Miss Goddard has left Berlin, and has gone to Prague, where she has, I hear, already announced a concert. She will not soon be forgotten in Berlin. VIENNA. (From our own Correspondent.) SINCE I last wrote Mad. Palm has appeared at the Imperial Operahouse as Valentine in Les Huguenots, and Antonina in Belisario, but without succeeding much better than on the two previous occasions.* The concert given by Herr Rubinstein in the rooms of the Musikverein was not well attended, but the few who were present seemed much pleased. The programme consisted entirely of Herr Rubinstein's compositions. The Academie der Tonkunst (the Academy of Music) gave its second public concert this year on the 23rd ult., a very short time after the first. The programme comprised no less than fifteen pieces. As examples of choral singing, for which the pupils are celebrated, we had two psalms by Lindpaintner, one for a soprano (solo) and chorus, and the other for an alto (solo) and chorus; two choruses by Haydn, "Die Harmonil der Ehe" and "Beredsumkeit;" a Jagd-Chor (hunting chorus), for male voices, by Czerny; a hymn for soprano (solo) and chorus, by the Earl of Westmorland; and, lastly, "The Wanderer" and "Die Geister an Beethoven's Grabe," for two soprani, alto, bass, and female chorus. There was a variety of airs besides. As a matter of course we had a prodigy, Mdlle. Julia Swoboda, aged eight, a pupil of Mad. Capponi, which wonderful juvenile, or juvenile wonder, performed, with three other pupils of the same lady, the overtures to La Muette di Portici and Le Domino Noir, and other morceaux. The public applauded frantically-as was to be expected. Only eight years old! On the 24th ult., Mad. Anna Weiss gave her second concert, in the rooms of the Musikverein. She took part in Beethoven's trio in D, for piano, violin, and violoncello, besides performing a great variety of trumpery fantasias by Dr. Liszt, Sig. Fumigalli *This is odd, since very inferior singers to Mad. Palm have made a reputation in Vienna.—ED. M. W. On the 25th, the day of the Annunciation, the Männergesangverein gave-for the benefit of the Building Fund of St. Stephen's church-a morning performance of Mendelssohn's choruses to Edipus in Colonnos, with connecting text by Herr Carl Rick. The execution of this noble music was highly praiseworthy, and the audience testified their satisfaction by loud and repeated applause. A miscellaneous concert, also for a charitable purpose, was given on the evening of the same day in the Kärnthnerthor Theater. The programme contained, among other things, Weber's "Jubel Overture," Herr Richard Wagner's "Entre'acte" to Lohengrin, etc. ROTTERDAM. (From a Correspondent.) Rotterdam, April 2. and other choice composers. Being encored in a bravura piece | Forgive me if I have said anything unjust, and attribute it to on the Prophète, she played a trifling Mazurka of her own. Sig. the feelings of a désillusioné. Your collaborateur, Dr. Kist, of Marchesi was the vocalist. Utrecht, has given the public his opinion, in very unmistakeable terms, and winds up by presuming that too much warbling may have injured the voice of the Nightingale. He does not account for her coldness of tone and song. Perhaps the severe winter? On dit, that when rehearsing Don Giovanni, under Spohr's direction, at Cassel, the Doctor was more astounded than pleased to hear Miss Jenny commence a "tertz" too deep. The Doctor is a man of few words, and hinted that Mozart's music did not admit of transposition; but an involuntary "Whew!" burst from the worthy artist's lips when his fair débutante naïvely told him that she was not aware that she had sung so low. Such things happen often enough with Italian singers, although they are rare with German artists. The reverse of this happened with Kuhr, in Frankfort. He was rehearsing Norma with a lady, and, astonished at her not singing when the orchestra commenced, he inquired the reason. "Your orchestra is half a note too high; have you transposed the music?" was the answer. The first violin laughed, and said, "The lady is right-she is accustomed to sing after the Leipsic tone." Kuhr got the proper tone from Leipsic, and found that his orchestra was screwed up half a note too high. He will, I dare say, recollect all this, and forgive my retailing what I heard. Jenny complained at Amsterdam that the Dutch were so cold. "No enthusiasm—no ovation—no serenade,” quoth Goldschmidt. "Oh!" said S- 'you want a serenade, do you? You shall have it," and he touched the bell. "Tell the band not to disperse," and in five minutes they were on their way to the Serenade much against the will of the leader thereof, who felt his dignity considerably compromised on the occasion. This reminds me of an on dit of Dr. Liszt, when he and Rubini were starring it in Germany. Rubini was as careful of his coin as Dr. Liszt was careless. In Bavaria they had been fêted with serenades and Liedertafels à l'outrance, but on leaving the Hotel, Rubini was furious at discovering sundry charges in the bill for the same. "What!" said he, "I thought these were given by the public; are we to pay for them?" Oh!" quoth Liszt, "if it comes to that, make your mind easy-I ordered them." Most of the artists have quitted Holland. The two Fernis still enchant the public by their delightful performance; and Madle. Emilie Walter is giving a few farewell concerts at Utrecht, Leyden, and the Hague, previous to quitting for Italy, where she has to sing an engagement of 40,000 fr., before going to Rio, where she is offered one of 75,000, and expenses paid. M. de Voss, the director of Felix Meritis, in talking to me lately as to the various artists who had visited Holland, said that he had been many years director of that institution, and that the two voices which had created the greatest sensation in Holland, within his recollection, were those of Herr Formes as basso, and of Madle. Emilie Walter as soprano. ALLOW me to congratulate you and the musical public of Britain on the escape which they have had from an attack of the Lind fever-more power to the contractile muscles of Mr. Mitchell's right hand, he deserves well of his country. The poor Dutchmen have not been so fortunate, and the disease, adapting itself to the circumstances of the clime and country, has assumed the intermittent form. Jenny returns to enchant the public after Easter. I heard the Nightingale here the end of last month, and am still suffering therefrom. Burning with anticipation, and fortified by a bottle of Rudesheimer, I braved the density of a Dutch fog and the opposition of a six-knot "stroom" from the capital of Zealand in a twelve-hours' passage to Rotterdam. It was Jenny's second or third concert. The room, or Hall, by no means of the acoustic order by the way, was right well filled-about 1,500 people. The fair sex mustered very sparingly, while three-fourths of the lords of the creation displayed those oriental features which so unerringly distinguish the children of Israel. After an overture by the orchestra, which by no means reminded me of that assemblage over which Costa presides, the folding-doors opened, and the fair Jenny tripped it right mincingly down the steps of the platform. "Ob die Wolke sie verhülle," from Der Freischütz, was her first aria, and I was almost uncharitable enough to wish it her last. Alas! for my mal-organisation, it left a most painful impression upon me. Ye gods! thought I, is this the world's wonder? The great! the gifted! who combines the force of a Catalani with the fire of a Malibran, and the delicacy of a Sontag. An irritable German in my neighbourhood made use of strong expletives, and something which would stand, translated in the vulgar-sold again, and lost your money. My impression was, take it for its worth, a voice of very small compass-no depth-the middle tones so veiled as to make me dread an attack of incipient deafness on my part; and of the upper notes, some so thready and uncongenial, that they became painful when contrasted with the few round and full tones which accompanied them, and throughout the whole a coldness, an icy coldness, that makes me doubt whether the fair Jenny be not a crystallized Undine. Undine's case, matrimony endowed her with a heart, but I suspect that Jenney's better half never possessed much himself. He endeavoured to act upon the public on the homoeopathic principle of "similia similibus curantur;" the same chilliness pervaded his fingering which ran through her vocalisation. Can you wonder that the audience were cold. Beatrice di Tenda followed, as unhappily produced as Der Freischütz. Her last aria was from the Zauberflöte. This suited her better, and she also sang it better, and was rewarded with a modicum of applause, which induced her to re-favour us with a morceau. The recall was a very quis-quis one, but let it pass-it served her turn. Her echo song closed the evening-a most unique performance, more worthy of M. Alexandre or Houdin. Kean might make a good harlequin, but would not like to found his reputation on the character. The movement of the head and body with which the illustrious Jenny persecuted the unfortunate echo from one corner of the building to another, involuntarily reminded me of a pet parrot of mine, who used to pride himself much on his perfection as "a waverer.' In FOREIGN MISCELLANEOUS. NAPLES (From a Correspondent).-Professor Pappalardo, well known here as a composer of trios and quartets, directed the mansion of the Cavaliere Colonna, a munificent amateur of the performance of his first quintet, on the 22nd of December,at extolled for this composition. In simplicity of style and clearmusic and the fine arts. Signor Pappalardo has been greatly ness of instrumentation, it is affirmed, he evidently belongs to himself from the national feeling. He understands how to en the school of Haydn. Still, he does not entirely disembarrass graft Italian melody on German harmony; and by this means aims at conciliating the learned and unlearned in the art. performance attracted a large concourse of fashionables and the dilettanti of Naples, and was eminently successful. ERFURT.-Meyerbeer's Etoile du Nord has been produced with great success. The MAYENCE.-The first representation of L'Etoile du Nord is announced for this week. LEIPSIC. A new four-act romantic opera, entitled Der Erbe von Hoheneck will shortly be produced. The music is by Herr M. Hauser, and the libretto by Herr Ed. Devrient. BROMBERG.-Herr von Bülow (pupil of Dr. Liszt) gave a concert in the Saal der Loge, which was numerously attended. He played Beethoven's Sonata apassionata; Richard Wagner's "Einzug der Gäste auf Wartburg," transcribed by Dr. Liszt; a Nocturne by Chopin; a "Lied ohne Worte," by Mendelssohn; and a Mazurka of his own. The audience were loud in their applause. HANOVER.-Herr Marschner's Hans Heiling went off with great éclat at the Opera. A laurel wreath, thrown to the composer by the hands of majesty itself, was his reward. HAMDURGH.-Félicien David's Désert was performed, on the 17th ult., for the benefit of the Pestalozzi Stiftung. FRANKFORT-ON-THE-MAINE.-Herr Damcke, from St. Petersburgh, has been lecturing on the history of music from the beginning of the Christian era down to the present day. PROVINCIAL LEEDS.-A new organ, built by Mr. William Holt, of this town, has been opened for public service in the Independent Chapel, Lister Hills. This chapel was originally founded, and the greater amount of the cost of its erection defrayed, by Alderman Smith, to whom the congregation are now indebted for the new organ. The screen, fronted with mahogany, is in the pointed style of gothic architecture. Mr. Holt himself presided on the occasion, and had every reason to be satisfied with his workmanship. The services in the chapel were prefaced by a tea-party in the School-room, at which several ministers of the town were present. In the course of the evening a paper on Sacred Music and Congregational Psalmody was read by the Rev. H. R. Reynolds, of Leeds. The pastor of the chapel, and the Rev. J. R. Campbell, M.A., of Edinburgh, took part in the proceedings. On Sunday the anniversary sermons were preached by the Rev. D. E. Ford, of Manchester, after which collections were made.Leeds Times, 31st March. BRIGHTON.-At the last concert of the Amateur Symphony Society on Thursday evening, in the Pavilion, the programme contained among other things Mozart's Symphony No. 1, and the overture to the Caliph of Bagdad. In the Symphony the orchestra showed a marked improvement over last season. The Caliph of Bagdad, though old, is a favourite; but the time at which it was taken was too quick for an amateur orchestra. Mr. Rivers sang twice; and in an air of Meyerbeer's was encored. This was also his best effect, and he should have repeated it instead of substituting a vapid sentimental ballad. Beethoven's overture to Prometheus was very well played. Mr. Oury was the conductor, as usual. The room was exceedingly well filled; indeed, it was the best attendance of the season. MANCHESTER.-The benefit on behalf of Mr. Rogerson, drew a large audience to the Theatre Royal on Monday evening. Mesdames Armstrong, Winterbottom, W. H. Flinn; Messrs. Perring, Slater, Guilmette, Delavanti, Signor Paltoni, with the Lancashire Choral Union (under the direction of Mr. Newall), were the vocalists; Mad. Arnati Collins, Messrs. C. A. Seymour, Thorley, J. T. Harris, Andrews, and his three sons, the solo instrumentalists. The orchestra of the theatre, under the able direction of Mr. Loder, also assisted, and Mr. D. W. Banks conducted. The Choral Union also undertook to add to the pieces assigned to them. Previous to the commencement of the concert, the honorary secretary, Mr. John Curtis, delivered an address, written by Mr. Charles Swain. The receipts of the evening, we understand, were £85; a sum which will leave, after all ́expenses, about £50. CHORLTON-ON-MEDLOCK. A family concert, given by Mr. Richard Andrews and three of his sons, drew a well-filled room at the Town Hall, on Friday evening last. DRAMATIC GOSSIP.-At the Standard Theatre, Miss Glynn is continuing her performances to crowded houses nightly. Her latest achievement has been in Webster's horrible tragedy, The Duchess of Malfi, modernised by Mr. Horne, in which she played the Duchess with great effect. Miss Glynn was supported by Mr. Marston (the other reigning star of the East), as the Duke, and Mr. Bradshaw, as Batsola.-At Astley's, the revival of Timour the Tartar, produced forty years ago at Covent Garden, has been very attractive, and the elephants continue their extraordinary performances.- Mr. William Wallack has sublet the Marylebone Theatre from Easter Monday to the 2nd of June. MR. ALLCROFT'S CONCERT.-Mr. Allcroft's second "Musical Festival" came off on Monday night, at the Lyceum Theatre. The "artists" numbered some five-and-twenty, without inteurs Montagnards, a tolerably numerous cluding Messrs. Distin, Sons, and Herr Kurutz, the Chanorchestra, four conductors and a leader. A Miss Mason, and a Signor Napoli," etc., were novelties; and Herr Formes made "his Raffaelo Palmerini, "from the theatres Reali Milano, Roma, first appearance this season." The concert commenced at seven; but when it ended we have no idea. At eleven there were yet four pieces in the first-part to be executed. The length of the programme might have been almost endurable had the audience been less exacting. We might have pardoned the encores awarded to Mr. Sims Reeves and Herr Formes; but when the audience became indiscriminate in their approval, and wanted to encore what was unworthy of being heard even once, it was enough to make the judicious grieve and the patient weary. Instead of repeating "The Pilgrim of Love," Mr. Sims Reeves substituted "My Pretty Jane," which created the usual impression. In place of the Swiss tune, "All lonely now my flocks I tend," Mad. Thillon favoured the audience with her much-used "Minnie," and instead of a new ballad of Mr. Linley, her favourite "Say yes, Pussy." Herr Formes was encored in "Pour fuir son souvenir," from L'Etoile du Nord, but having left for St. Martin's Hall, to sing for Mr. Alfred Mellon, the demand was not acceded to. Miss Rebecca Issacs, in Mr. G. Linley's ballad, "Laddie," which she gave with much archness of expression, was also unanimously encored. On the other hand, among the performers who merited but did not obtain encores, were Mrs. Sims Reeves in "Robert, toi que j'aime;" Mad. Clara Novello in a pretty and characteristic song by Mr. Frank Mori, called "The Vivandière;" Miss Messent in a ballad by the same composer; Mr. Lazarus in a fantasia on the clarinet, and Herr Ernst in Mayseder's Variations Brillantes, with his own extraordinary Cadenza. This last display was little short of prodigious. Mr. Augustus Braham sang, with excellent effect, his glorious old father's last song, "Never Despair," which is instinct with the ancient fire and wellmarked phraseology. A list of the vocalists and the pieces sung and played would take up a column; but as it would not be likely to entertain our readers, we must end by saying that the house was crowded in every department, including even the greater portion of the stage, which, as before, was railed off to separate the performers from the audience; that everybody seemed pleased with everything, and never complained of having too much; and that the names of the four conductors were Messrs. J. H. Tully, J. G. Callcott, Wilhelm Ganz, and Meyer Lutz. M. ALEXANDRE BILLET'S CLASSICAL PIANOFORTE PERFORMANCES.-The second came off on Friday last (the 30th ult). The programme was full of interest. M. Billet began with the sonata in F, by Mad. Paradies, a Viennese lady, celebrated, at the end of the last century, as a pianist and composer. Marie Therese Paradies composed several operas, which were received at Vienna with great favour. Her works for the pianoforte-or more properly, clavichord-were principally confined to sonatas, of which she wrote fourteen. The sonata in F was a highly interesting example of a style of composition which essentially belonged to the period at which it was written. Mad. Paradies, in manner and treatment, resembled Scarlatti. The Suite de Pièces, of Händel-No. 8 in F minor-which came next, was greatly admired by the audience, and applauded throughout. In the Gigue, more especially, M. Billet was overwhelmed with "bravos." Mendelssohn's Fantasia in F sharp minor-dedicated to Moscheles-was better suited to show the vigorous and masterly execution of the player. It was admirably performed, and the Finale Presto-"caviare" to the majority of pianistsunanimously encored. Woelf's Fugue and Sonata, in C minor, Op. 25, was M. Billet's next essay. This sonata is the best known and most admired of all the composer's works for the pianoforte. The Fugue is very fine, and indicates great contrapuntal knowledge; but we prefer the other movements of the regular sonata. Hardly any performance of the evening was more creditable to the pianist than this. Although the Fuque and Allegro were more calculated to show his command of the instrument, the Allegretto obtained the largest share of sympathy from the audience. M. Billet terminated his performances with three morceaux-" Impromptu en forme d'Etude," composed by himself; "Tafaut," Chasse, E flat, by Fumagalli; and Thalberg's Andante et Etude in A minor. Miss Julia Bleaden varied the performances with two songs-Nini's recitative and air, "Oh! qual silenzio," and Haas's Tyrolienne, "Through meadows green," in which she was encored. The third and last performance is announced for Friday, April 13th. 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. 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. ADALGISA. No fee is required. The MUSICAL WORLD does not transact business in that way. Our fair correspondent shall receive due attention. J. S. (Lewisham).-There is no regular depôt in London, but it can be obtained through any of the foreign music-sellers. THE MUSICAL WORLD. LONDON, SATURDAY, APRIL 7TH, 1855. MR. EDMUND CHIPP has been dismissed from the Queen's band. This arbitrary proceeding has astonished every one, and henceforth no member can feel comfortable in his place. The explanation given by Colonel Phipps was: that, in consequence of the publication of a letter signed "Truth," which appeared in the Musical World on Saturday, January 20, and of another letter, signed by Mr. Edmund Chipp himself (February 3), in which that gentleman denies the authorship of the first, his services would no longer be required. It becomes our duty to repeat here what we declared in obedience to Mr. Chipp's urgent request, as embodied in his communication of February 3, that he was not the author of the letter signed "Truth;" that he knew nothing whatever about that or any other letter on the subject; that he had, on no occasion whatever, been in correspondence, either on paper or otherwise, with this journal; and that, until the reception of the letter to which his name was affixed, we had never seen his hand-writing. These are facts which we shall be happy to reiterate, viva voce, to any one who may have authority in the matter, or is desirous that Mr. Chipp should receive strict justice at the hands of Her Majesty, and not be punished for a transaction with which he had no more to do than Mr. Anderson, or Col. Phipps himself. From all we have learnt, Mr. Chipp has discharged his duties, as Musician in Ordinary to Her Majesty, and Member of Her Majesty's Private Band, with the utmost zeal and punctuality for a great number of years. His eminent talent as a musician is unanimously acknowledged in the profession, and his con duct as a gentleman, both in public and private life we have every reason to believe beyond reproach-in short, an example. We feel quite convinced that Her Majesty and the Prince Consort, who are renowned for their social virtues and personal amiability, would on no account sanction a palpable injustice towards one of their household, who has served them long, ably, and with true fidelity. That Mr. Edmund Chipp has done this is notorious; and it seems utterly impossible that his dismissal from the private band should be confirmed by those illustrious individuals. Mr. Chipp is cashiered on suspicion of having written a letter, of which he absolutely knew nothing. Nay more, we are able to show that, until long after the publication of his own shall formally absolve him from the suspicion of having been letter, in which he demands, as an act of justice, that we the author of the communication signed "Truth," he was utterly ignorant in whose hands the Editorship of the Musical World was vested. As many of our readers may have overlooked the letter of "Truth," or have forgotten what was the subject of it, we think it advisable, having taken up the discussion, to reprint it from our impression of Jan. 20. "HER MAJESTY'S PRIVATE BAND. To the Editor of the Musical World. SIR,-It gave me much satisfaction to read the very just and true statement made in the letter of "A Chorus Singer," inserted in your valuable journal of last Saturday. It is a matter of much regret that there should be only too true a cause for such remarks, There is one mistake I consider you have fallen into in your clever leader on the same subject, which, when you know the truth (and that can easily be discovered by inquiry), you will at some future time rectify. In speaking of the pay of the private band, you call it "liberal." Now the salary of either Mr. or Mrs. Anderson may be "liberal"-for that is a point not open to public inquiry, and that Her Majesty is led to believe that all the members of the Private Band are "liberally " (paid, I have no doubt whatever. But I think, when you are told that the principal part of the members only receive £80 or £100 per annum, and that they are required for that sum to be oth always in readiness to fulfil Her Majesty's commands, to the loss of all other engagements which they may by chance make; and that they are taken from their houses in town for the greater part of the winter to Windsor, without any further allowance being made them for increased expenses attending the having to keep up a second place of residence, do not think you can, in justice to that part of the musical profession, make use of the term "liberal" as regards their salary. I There are many more arrangements respecting the Private Band of Her Majesty Queen Victoria, which ought—and I trust will-meet with exposure before long; exposures which may possibly, nay, I believe will, astonish Her Gracious Majesty as much as any of her musical subjects. I remain, sir, yours obediently, TRUTH. The suspicions to which the above gave rise, and the eventualities that threatened to follow their possible corroboration, no doubt induced Mr. Chipp to address a letter to the Editor of the Musical World, with the laudable object of exonerating himself. This letter it is well to reproduce, as a pendant to the other. HER MAJESTY'S PRIVATE BAND. To the Editor of the Musical World. SIR,-You will I hope excuse my trespassing upon your valuable space; but, in consequence of the appearance of a letter in the Musical World of the 20th inst., signed "Truth" (a letter which all acquainted with the facts must acknowledge merited its signature), Mr. Anderson has, in his endeavour to find out the author, thought fit to rest his suspicions upon me, and to accuse me to others of being the writer; letter and certain remarks contained in a private correspondence which resting his suspicions upon an assumed similarity of remarks in that took place between us last autumn relative to professional affairs. That correspondence I must, if necessary for my own exoneration, make public; since, if uncontradicted, Mr. Anderson's present declarations amount to a direct attack upon my character. January 30th, 1855. I am, Sir, Band." EDMUND CHIPP. Your obliged servant, Musician in Ordinary to Her Majesty, and Member of Her Majesty's Private [Mr. Chipp speaks literally the fact. Not merely has he never had any previous communication with this Journal, but we never even saw his hand-writing until now. It is, therefore, scarcely requisite to add that he is not the author of the letter signed "Truth."-ED. M. W.] of the ante-Easter season, when the King's Theatre commenced its season as early as the first week in February, Mr. Anderson threatens that if the letter in your Journal should be with some of its most famous singers, and with novelties traced to myself or any member of H. M.'s P. B., he (Mr. Anderson) shall immediately give orders that such person is refused further admit- to which the management looked for enduring success. tance into the Queen's Palace. Whether such an extent of power is Year after year, the opening was deferred to a later period, vested in the office Mr. A. occupies I know not; but, from the tone in until at length the performances before Easter were rewhich the threat was conveyed, I have no reason to doubt his inclina-garded merely as a sort of preamble to the regular season. tion to put it into execution. Therefore, as an act of courtesy no less To account for this gradual change is not easy. Something than of justice, I trust you will kindly insert this note, and deny (as you have the power of doing) that I have ever had communication may be attributed to the movements of Parliament, which with your Journal previous to this date. began to sit later and later every year, until recently, when critical events summoned both Houses as early as November. We are inclined to think, however, that the principal cause was that the best singers were always engaged during the spring at the Italian theatres of Paris and St. Petersburgh, which precluded their appearing in London until after Easter. The establishment of Italian opera in the capital of Russia is comparatively of modern date. Since Rubini undertook the management, it has been the aim of each successive director to secure the most celebrated artists for the favourite Court theatre. At the Italiens, in Paris, The assurance we gave then we repeat emphatically here. nothing short of the highest talent is tolerated, and the Mr. Chipp is wholly innocent. The writer of the letter merits of new singers may be tested by the reception acsigned "Truth" enclosed his name and address (which we corded them in the Plâce-Ventadour. A plainer and more have still in our possession), in deference to a rule enforced evident reason, however, may be assigned for the late openby all respectable journals-since, where mutual good faith ing of the Royal Italian Opera this year. The subscription is established, the chances of imposition are greatly diminished must have suffered materially through the absence of so if not altogether disposed of. We have no right, and indeed many habitués in the Crimea, and the sad deprivations which no desire, to disclose the names of any of our correspondents have placed a host of families in mourning. Taking this who may honour us with their confidence, unless we are led into consideration, the directors have acted wisely, we think, to believe that they have deceived or attempted to deceive in making the season as brief as possible. If its attractions which in the present case is out of the question. rival its brevity, there will be no cause for grumbling. Just now we must quit the subject; but in the meantime The prospectus is less replete with interest than usual. our columns are open to Mr. Edmund Chipp, or to Mr. Mad. Grisi's secession will be severely felt; Mdlle. Sophie Anderson, or to any one who may feel aggrieved. Our ob- Cruvelli cannot come; and, unless Mdlle. Jenny Ney, the ject is to elicit truth, and, as the conductors of a journal new prima donna, should surpass expectation, subscribers devoted to the interests of music, protect, to will have to put up with the loss of Norma, Lucrezia Borgia, best of our ability, the just claims of its profes- Semiramide, La Favorita, Ernani, Fidelio, Anna Bolena, and sors. We have no prejudice one way or the other, other operas, in which those two dramatic singers were unno ill feeling against any one; but we entertain a strong rivalled. To atone for the absence of old friends, novelties and honest disinclination against allowing any act of are promised, which may serve, at least, to close the lips of injustice to be committed, upon which, as musical journal-discontent, if not entirely make amends for what is gone. ists, it is our duty and our right to comment. For these Great stress is laid on the production of Meyerbeer's Etoile reasons we shall return to the subject, and "report progress" du Nord. "It would be difficult," says the prospectus, "to to our readers, being intimately persuaded that Her Majesty the Queen, and H.R.H. Prince Albert, will not give their countenance to an act which robs a deserving servant of his means of existence, and condemns an innocent man to a severe and unmerited punishment; perhaps, indeed-who knows?-consigns him to ruin and his family to want. Mr. Chipp's only crime has been a wish to absolve himself from an unwarranted suspicion. We were happily able to effect so much in his behalf; he appealed to us in a straightforward manner, and we did it. He may console himself with the reflection that his honour is untouched, although his position and livelihood may be perilled. Should his dismissal be confirmed, which again we declare to be impossible, it is not for us, but for his own legal adviser, to tender him advice. us, the express the great gratification which the directors feel (a sentiment which will, doubtless, be shared by the musical public in general), in being able to announce that they have entered into arrangements with that illustrious maestro, M. Meyerbeer, for the performance of his last new opera, L'Etoile du Nord, a work the success of which most certainly finds no parallel in the annals of the lyric drama." Without believing, with the directors, that Meyerbeer's last opera has achieved "a success which finds no parallel," since M. Meyerbeer has furnished parallels himself, the Etoile du Nord is the "great fact" of the prospectus, and is likely to make amends for many deficiencies. Its production will tax the whole resources of the theatre. Malle. Jenny Ney -a German prima donna of reputation-is engaged for the part of Catherine; while the cast otherwise will include the names of Mdlle. Marai, Sig. Gardoni, Sig. Lablache, and THE prospectus for the ninth season of the Royal Italian Herr Formes. M. Meyerbeer's sanction has been accorded, Opera contains some matter for speculation. The first thing in consequence of the efficient manner in which it will be likely to engage attention is the tardiness of its appearance. put on the stage; and furthermore, it is hinted that the The 10th of April is the day announced for the opening-a composer himself may "personally superintend" the perdate unusually far advanced in the year. Old frequenters formances. To conclude, "M. Meyerbeer has composed, of the Opera will remember with regret the achievements expressly for the Royal Italian Opera, on poetry written |