PROGRAMME OF MONS. ALEXANDRE BILLET'S

Third and Last Evening Performance of Classical Pianoforte Music, on Friday, April 13, at St. Martin's Hall, to commence at eight o'clock:-Sonata, F Sharp Major, Op. 78-Beethoven; Prelude and Allegro (from the Suites Anglaises)-Bach; Allegro in A-Scarlatti; Gigue in D-Mozart; Song (Duet from the "Stabat Mater")-Rossini; The Temperaments," Nos. 3 and 4, Book First; Grand Duet, two performers, E Flat-Moscheles; Aria and Barcarole-Berger; Quartet from "I Puritani," varied-A Billet; "La Truite, Caprice, D FlatJ. Heller. Tickets, 28. and 4s.; Reserved, 7s. To be had of M. Billet, 12, Russellplace, Fitzroy-square, and at St. Martin's Hall.

OTHIC HARPS, Double-action, with every improveHaarnack, Harp Maker, 35, Berners-street, Oxford-street. Harps repaired, redecorated, strung, and regulated at moderate prices. N.B.-32 years experience in Harps.

ITALIAN 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 28, Holles-street.

THE

HE

CHEAPEST

CONCERTINA.-Messrs. Boosey

and Sons beg to state that Case's Four-Guinea Concertina is sold at a trifle above the cost price, for the express purpose of superseding the worthless instrument 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 £4 48. to £12 12s. each. Instruments exchanged and let on hire. Boosey and Sons' Musical Instrument Warehouse, 28, Holles-street.

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.

HOLLOWAY'S PILLS a sure remedy for Indigestion,

Stomachs.-Mr. Patrick O'Brien, of Newtownards, had frequent attacks of bile and indigestion, particularly after indulging freely in the luxuries of the table. His appetite was good, but his digestion weak, which obliged him to have recourse to medicine as oft-changed as told, for he seldom ness. Holloway's Pills were recommended to him after all, and it is quite astonishing to see the benefit he has derived from them, as he can now eat indiscriminately, without fear of suffering from his former ailments.-Sold by all

obtained more than temporary relief, relapsing again into the same unpleasant.

Vendors of Medicine, and at Professor Holloway's Establishment, 244, Strand,

London; and 80, Maiden-lane, New York.

ALBINOLO'S OINTMENT having been forwarded by

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

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

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

IMP

published the following cheap and attractive editions of IL TROVATORE, THE COPYRIGHT OF WHICH WAS ASSIGNED TO THEM BY THE COMPOSER. Other editions are in the press. 28, Holles-street.

IL TROVATORE.-Complete edition, with Italian words

unabridged and in the original keys, price 21s. boards. Boosey and Sons 28, Holles-street.

I TROVATORE-For voice and piano, with Italian

words, French edition. Price 12s. Imported by Boosey and Sons, 28, Holles

street.

IMPROMPTU A LA VALSE (No. 2 of Deux Morceaux

de Salon), composed by J. Thorne Harris (of Manchester), price 38. Boosey and Sons, 28, Holles-street.

price 1s. Boosey and Sons, 28, Holles-street.

TROVATORE.-"Deserto sulla terra," song, new

edition, price 1s. Boosey and Sons, 28, Holles-street.

L TROVATORE.-" Tacea la notte," song, new edition, price 1s. Boosey and Sons, 28, Holles-street.

L TROVATORE.-" D'amor sull alli rosée," song, new edition, price 18. Boosey and Sons, 28, Holles-street.

IL TROVATORE.-"Il balen del suo sorriso," song, new

edition, price ls. Boosey and Sons, 28, Holles-street.

IL TROVATORE." Si la stanchezza," duettino, price 2s.

Boosey and Sons, 28, Holles-street.

Price 2s. by the same composer,

Trois Morceaux de Salon. No. 1. La Ressouvenance. No. 2. La Consolation. No. 3. L'Espérance. Price 2s. each. Boosey and Sons, 28, Holles Street.

TO FLUTE PLAYERS. BOOSEY AND SON's, publish

this day "La Sonnambula" arranged for the Flute by J. Clinton, forming No. 1, of Boosey's standard Foreign Operas for Flute Solo, price 2s. 6d. Norma and Lucia di Lammermoor will be ready in a few days. Boosey and Sons, 28, Hollesstreet.

written by Longfellow, Lowell. Melopoyn, and Miss Emily Ham. The music 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. 6.-Good Night!

London: Cramer, Beale, and Co, 201, Regent-street; and R. Mills, 140, New Bond-street.

HERALD. Where you perceive the King's shield, there learn justice through his decision. Therefore do I call, accusingly, clearly, and loudly: Elsa, appear!

SCENE II.

Enter ELSA in a white and very simple dress; a long train of her women, very plainly clad in white, follow her. The women remain standing in the background, at very outside of the circle, while ELSA advances, slowly and abashed, into the middle of the foreground.

THE MEN. See! she approaches, the heavily-accused one! Ha! how bright and pure she looks! He who dares bring so grave a charge against her, must indeed be certain of her guilt.

KING. Is it thou, Elsa von Brabant? (ELSA makes an affirmative gesture.) Dost thou acknowledge me thy judge? (ELSA looks full in the KING'S face, and again makes an affirmative gesture.) Well, then, I will question thee further. Art thou acquainted with the heavy charge against thee? (ELSA perceives FRIEDRICH, starts, turns her head timidly away, and mournfully makes an affirmative gesture.) What dost thou answer to the charge?

ELSA. (Makes a gesture, implying "Nothing.")
KING. Thou dost acknowledge, then, thy guilt?

ALL THE MEN. The summons has died away without an answer: her cause looks badly.

FRIEDRICH. (Pointing to ELSA who begins to be uneasy.) See, whether I have accused her falsely! Right is on my side.

ELSA. (Approaching nearer to the King.) Beloved King, let me entreat thee, let the challenge be once more sounded for my knight! He is, doubtless, far away, and does not hear it.

KING. (To Herald.) Summon once more to the judgment! (The Trumpeters sound again as before; the Herald repeats the summons. Another long, anxious silence.)

ALL THE MEN. Heaven answers in gloomy silence!

ELSA. (Falling on her knees.) Thou borest to him my lament; to me did he come at thy bidding. O, Lord, at present tell my knight to assist me in my distress! Let me see him, as I saw him; as I saw him, let him be near me! (Those on an eminence nearest the bank of the river, perceive, in the distance, a skiff, drawn by a swan, gradually approaching, on the stream: a knight is standing in the skiff.

THE MEN. (At first a few; their number, however, keeps increasing, as they are nearer the bank, or gradually approach it.) Look! look! What a wonderful phenomenon! Is it possible! A swan-a swan is drawing hither yon skiff! A knight stands in it, bold and upright!-

ALL THE MEN. How wonderful! What strange behaviour! KING. Say, Elsa, what hast thou to confide to me? [A long pause. ELSA. (Gazing in a state of quiet abstraction.) Alone, in days of sadness, I prayed to God; I poured out the heart's deepest sorrow in prayer. A sound so full burst then from my groans, and swelled through the air into mighty tones. I heard it echoing in the distance, until it scarcely reached my ear: my eye closed, and I sank into sweet sleep.

THE MEN. (Softly.) How strange! Is she dreaming? Is she mad? KING. Elsa, now defend thyself in the presence of thy judge. ELSA. (Continuing uninterruptedly as before.) In the light of glittering weapons a knight approaches; I never beheld another of such pure virtue. Leaning upon his sword, with golden horn at his side, he stept out of the air to me, worthy of the rack. With modest demeanour, he comforted me. I will see the knight, he shall be my champion!

KING AND ALL THE MEN. (With emotion.) Heaven's grace protect us, that we may clearly see who is guilty!

KING. Friedrich, thou honourable man, reflect well whom thou accusest!

FRIEDRICH. Her dreamy mood does not deceive me; you hear, she is in raptures for a paramour! For that of which I accuse her, I have good reasons; I had sure testimony of her crime. To turn aside your doubt, however, by evidence, would, in truth, but ill agree with my pride. There do I stand, and here my sword! which of you dares do battle against the glory of my honour?

THE BRABANT NOBLES. Not one of us! We only battle for thee. FRIEDRICH. And thou, King! Dost thou remember my services; how I struck down. the savage Dane in the fight?

KING. How ill it would become me to allow thee to remind me of it! I willingly award thee the palm of highest virtue; I would not see the country under the protection of any other. God alone shall at present decide in this matter!

ALL THE MEN. The ordeal! the ordeal! Come!

KING. (Draws his sword, and plants it solemnly before him in the ground.) I ask thee, Friedrich, Count von Telramund! wilt thou maintain thy charge in the ordeal, by a contest of life and death? FRIEDRICH. Yes.

he comes nearer! The swan is drawing him with a golden chain! (The interest increases; every one leaves the foreground, and hastens to the back. The KING, who from his elevated position can see what is going on; FRIEDRICH, who listens in astonishment; and ORTRUD, who looks towards the background with gloomy dissatisfaction, are the only persons who remain in the foreground. ELSA, who listens with a countenance that becomes by degrees more and more perfectly attentive to the description given by the crowd, and stands, as if rooted to the spot, appears unable to look round.)

ROSSINI AND BRAHAM.

[WE have been requested by the illustrious father of English singing, to publish the following correspondence between himself and the not less illustrious father of Italian song.]

Translation.

FROM ROSSINI TO BRAHAM.

MOST ESTEEMED JOHN,-I was highly delighted to make the acquaintance of your son Charles. Besides being a most amiable person, I found him possessed of a fine sympathetic voice; and if he makes up his mind, as I'advised him, to continue his studies with my friend, Signor Romani, he will, I have no doubt, maintain unimpaired the high reputation of his father, with the perspective of attaining the highest honours if he persevere in his design. I am aware how fond a father ever is of hearing the opinions expressed of his son, and I hope that you will accept mine as the expression of my sincere appreciation, and, at the same time, beg of you to receive the assurance of my admiration for yourself GIACHIMO ROSSINI. and of my personal esteem.

Florence, 17th Dec., 1854.

FROM BRAHAM TO ROSSINI. ILLUSTRISSIMO SIGNOR ROSSINI,-Non mi fido ti scrivere nella lingua Italiana; percioche comincio, che-Your delightful letter gave me the greatest pleasure imaginable, not only for the high

KING, Whom hast thou chosen for thy champion?

FRIEDRICH. (Hastily.) Listen, now, to the name of her paramour! THE BRABANT NOBLES. Pay attention.

ELSA. I will await the Knight, he shall be my defender! Hear what I offer to the heaven-sent champion in return: Let him wear the crown in my father's dominions; I shall esteem myself happy if he takes my wealth; if he call me wife, I give him what I am!

THE MEN. A valuable prize, if it depended on the will of Heaven! Whoever fought for it, would do well to pledge a heavy stake.

KING. The noon-day sun is already high; it is time that the challenge should go forth. (HERALD comes forward with the Four Trumpeters, who advance towards the four quarters of the compass, at the extreme boundaries of the circle formed by the court; in this position they sound the challenge).

HERALD. If anyone here has come to contend in the ordeal as champion of Elsa von Brabant, let him appear! (Along silence.)

the voice and capabilities of my son Charles (Carlo). I sincerely hope he will attend to your advice as to an oracle. You have made the father proud and the son grateful. May the great Rossini-that glorious sun of harmony and melody, at whose fire of genius modern composers light their torches in hopes of inspiration-live many years of happiness and prosperity, is the JOHN BRAHAM. heartfelt prayer of

SICK AND WOUNDED AT SCUTARI.-The Amateur Soirée Musicale, which was given in the Hanover Square Rooms, in aid of the fund for the Sick and Wounded Soldiers at Scutari, was highly successful in its pecuniary results. The sum of £130 was realised. Among the donators were Mad. Jenny Lind Goldschmidt, and General Sir de Lacy Evans. The soirée was projected and carried out under the superintendance of Miss Elize Barrington, to whom great credit is due.

SIR,-Mr. Gye's prospectus for the season of his great lyric establishment, whilst affording ample satisfaction for the remarkable assemblage of talent secured, betrays a bold attempt to impose on the credulity of the public. I shall first dwell on the unfair manner in which he adverts to the illustrious composers of the two new operas which he promises to produce. The public has already proclaimed as a breach of courtesy, the fact of giving utterance, in a prospectus, to such exaggerated feelings of veneration for, and laudation of, Mr. Meyerbeer, whilst of Sig. Verdi, mention is made only cursorily, and in the most reserved and indifferent terms. If it were the intention of Mr. Gye to flatter the opinions of that section of the English public which does not sufficiently appreciate Verdi's music, by abstaining from any encomiastic allusions to his talents, he should have at least taken care not to wound the feelings of this composer's numerous admirers, by likewise abstaining from indulging in an enthusiastic panegyric on Mr. Meyerbeer. The partiality thus evinced by Mr. Gye in favour of the composer more popular with a certain class in this country has provoked the censure and blame of all persons possessing proper feelings, whether admirers or not of the relative merits of the two composers. It is not within Mr. Gye's province to influence the opinion of the public either in favour of or against an opera or a composer-let the public judge for themselves. Besides, it is in the highest degree disrespectful to Mr. Verdi, this attempt on the part of Mr. Gye to assign to him, in the opinion of the public, a position secondary to that which he endeavours to secure for Mr. Meyerbeer. Verdi's reputation and renown abroad stand, at the very least, as high as Meyerbeer's-which fact it was incumbent upon Mr. Gye not to disregard, and he should have been careful to refrain from drawing any invidious distinction between these two eminent men, who both, I am informed, are equally anxious to assist him in his praiseworthy exertions, and both are equally entitled to his gratitude and respect. But granted, hypothetically, that Meyerbeer deserves, as a composer, to be ranked higher than Verdi, I repeat that it is foreign to the duty of Mr. Gye to classify the relative merits of authors in his programme, the sole object of which should be that of apprising the public of the arrangements made by him for their gratification and approval: this, however, is not the only fault which I regret to have to find with the prospectus. I have also to point out and correct some historical inaccuracies which appear in the same, incurred likewise with the at least apparent aim of over-raising Meyerbeer in the estimation of the public, to the prejudice of Verdi. Mr. Gye states that the success of the Etoile du Nord most certainly finds no parellel in the annals of the lyric drama; and that this opera has already been performed at a vast number of continental theatres. It would hardly be possible to venture on a statement more completely at variance with truth; it being a very well known fact that the success of the Etoile has been doubtful and contested, even in Paris; and very justly too, for, in my humble opinion, this opera reflects very little credit on the illustrious composer of Roberto il Diavolo and the Huguenots. The Etoile du Nord has only been performed in France, Belgium, and in one or two secondary theatres in Germany. Mr. Gye, in speaking of the Trovatore, has stretched his generosity to confessing that this opera has been represented at every principal theatre in Italy, and has, during the past winter, formed the chief attraction at the Italian Opera in Paris. The real facts are these: that the success of the Trovatore most certainly finds no parallel in the annals of the lyric drama. The question is not where the Trovatore has been performed, but where it has not been performed. With the exception of London, I think that I am not far from correct in stating that every metropolis, every town, every village in the civilised world, where an Italian opera is to be found, has seen and frantically applauded the Trovatore. The eminent Maestro Pacini, whilst in Paris, last winter, to superintend the production of his Arabi nelle Gallie, has very properly stated that "No opera in existence has much chance of success if performed immediately after the Trovatote"-"Il quarto atte del Trovatore, è un grande scoglio per tutti i Maestri." Those were his words. On the authority of a very accurate musical periodical of Milan, we are informed that during the short period since its production, the number of performances of the Trovatore, in all the theatres in the world, far exceeds that of all the four operas of Meyerbeer put together.

This in justice to the claims of fair play and accuracy, which should never be made subservient to the absorbing gratification of personal

sympathies or antipathies. A man holding a position like that of Mr. Gye should be superior to the temptation of becoming the instrument of intrigue, at the sacrifice of proper feelings and his own reputation. Before taking leave of you, Mr. Editor, to those who wish to underperusal of Monsieur de Mirecourt's biography of Meyerbeer. I beg to stand the whimsical conduct of Mr. Gye I should recommend the enclose my card, and remain, sir, your obedient servant, VERITAS. Save us from our friends! What direful offence can poor Sig. Verdi have inflicted on this pseudonymous writer, to bring down upon him such an avalanche of overwhelming irony? Has he declined his libretto, or refused him a box at the Opera.

A REVIEW OF THE HISTORY OF MUSIC BEFORE MOZART.

(Continued from page 146.)

WHILE the learned were so busy giving Greek names to the Church scales, they remarked that the instrumentalists played in none of those scales. Whoever spoke of an instrumentalist, at that time, meant to designate a fiddler and a sort of handicraftsman, who was not worthy to be reckoned among musicians. As these Pariahs in music commonly played in C major, their plebeian scale was entitled modo lascivo (the licentious key). Modo lascivo, C major! the natural key, par excellence. Is not the title infinitely queer! Never had Truth a sincerer eulogy bestowed on her with the plain purpose of degrading her. How pleasantly ears, dedicated from principle to the hardest crucifixions, must have been tickled with this key, which they branded with the epithet "unchaste!" I shall be told that the composers in the improved Lydian mode had transposed this scale into the Fourth. Yes, but we have seen that they avoided, with all their might, the consequences of these normal scales, both as regarded the tune and modulation; the fiddlers, on the contrary, gladly and willingly accepted them. Herein lies the difference; they sinned without shame against the Greek modes, without trying, through the mediation of Gaforius and other casuists, to reconcile themselves with this system. The ear found its account in it, and the highly disturbed theory shrieked anathema over such criminal enjoyment. "Modo lascivo," it thundered out. Such was the spirit of the schools; and such, we may add, the spirit of the age. A sensual gratification-innocent as it was in itself-might lead into temptation, and arouse the Evil One, who knows how to assume all forms, even that of the major scale.

We come back to our question, which, after what has been What should-what could the recalled to mind, resolves itself. musicians make, who first strove to fulfil their calling as artists ? Melody? But Art, as it was, offered them none, and the principles, which guided them, made it long impossible. Harmonic sequences of any value? But scales, chords, modulations, all was terra incognita for them. Could purely rhythmical effects be asked of them? Perhaps they might have found such, had they been composing for the drum; but they composed for the voice; and, in all music which contains more than rhythm, that I mean that which produces the effect-is inseparable from the Melody. Surely the composers of the fourteenth century possessed none of the elements, whose use would have allowed them to treat Music as one of the forms of Poetry. The æsthetic part of Art, which is the art itself, never entered their thought; and how, I ask, could it have entered? Since they were utterly destitute of every means of moving and of pleasing, how should they ever dream that pleasure and emotion are the tone and only ends of music? That would have been as much as to condemn themselves to doing nothing, and yet they had to do something. The answer lies in their works.

Music, by its compound nature, exhibits two essentially distinct points of view, one of which, happily, never rose above the horizon of the middle age. Music is an art, but it is also, in the broadest sense of the word, a science, since it rests on calculation. To say nothing of the canon-with which, rationally, we do not allow ourselves to be much perplexed at the present day-there are melodic steps to be counted, rhythmical distances to be