pecting for some time the promised series of articles on organ-building advertised to appear in the Musical World." We tell him to use his eyes. For the last ten months, at least, the pages of the Musical World have been tolerably rife with the subject. But, perhaps, he has some pet object in view-some particular point of information to gain. Does he expect instruction gratis?

Furthermore, he most imperiously demands-"Why are Rea's and Noble's performances on the Magdalen Organ totally ignored, in the notice given!" We ask, first, does this gentleman imagine the Musical World is sustained solely for the purpose of furthering any views he may think right? If so, he may imagine an answer which we shall not trouble our pen to express. If not, however, we will reply to his question, but this solely as an act of grace, in which light we beg him to accept it-namely, that as to generalities, we do not bind ourselves to notice every organ that is built in England, far less every performance that may take place; and that, as to particulars, when our notice of the Magdalen Organ was written, Mr. Cooper's was the only performance that had then been heard; and that, before an opportunity occurred for its appearance in our pages, Mr. Best had concluded the series by an extraordinary display, of which, both on account of its indisputable merit, and because it was the last, we thought fit to append a short account to that which we had previously written.

The next time "An Organist" has occasion to question us on any subject, we counsel him to consult the amenities of correspondence somewhat further, otherwise his letter will assuredly find its way, sans cérémonie, to the fire-place.

ROYAL OPERA, DRURY LANE.-The season, announced for Monday last, commences next Monday, the 16th inst. From the public advertisements, we learn that the delay was occasioned, firstly, by the prima-donna, Madame Gassier, having been commanded to sing at the Court of the Tuilleries on the evening of her intended departure for London, and, secondly, from illness occasioned by a very unpropitious passage across the Channel. The latter statement has been established by medical certificate. MAD. RUDERSDORFF, the German prima-donna, is engaged at the Royal Italian Opera, to appear as Alice (Robert le Diable), Bertha (The Prophète), Donna Anna (Don Giovanni), and in other parts.

MDLLE. JENNY NEY, the soprano, and Konigl-Sachs-Hof-Opernund Kammersängerin, has arrived in London, to fulfil her engagement with Mr. Gye.

MISS E. JACOBS.-An evening concert was given by this lady, at Sussex, Hall on Wednesday evening week. The programme was made up chiefly of vocal music. The instrumental part was confided to Miss Julia Woolf, who played a fantasia on the pianoforte, and Herr Van Heddigan, who gave a solo on the violin. Miss Jacobs sang a romance of Auber, a cavatina of Bishop, and a new ballad "composed expressly for her" by Mr. G. L. Hime, whom she joined with Herr Jonghmans in "This magic-wove scarf," from the Mountain Sylph. She has much improved, and was deservedly applauded. The other singers were Mad. Weiss, Miss Isabella Moss, Miss Blanche Capill, Mad. F. Inman, Messrs. Weiss, Farquharson, L. Davis, Fielding, and Miranda, who were received in a variety of morceaux with great favour. The concert appeared to please generally.

MR. GEORGE TEDDER, gave a concert, on Tuesday evening week, in St. Martin's Hall, which was filled in every part. The audience had no need to complain of either the quantity or quality of the music selected for their amusement. Mr. Tedder sang the battle song from Oberon, and the ballad of "Good bye, sweetheart," with much effect. We have not space to name all the artists who assisted, suffice it they exerted themselves well. Madame Weiss, in particular, was noticed for the excellent way in which she rendered the grand scena from Der Freischütz, and Miss Rebecca Isaacs for her singing in two ballads, quite to the taste of the audience, to whom the entire concert appeared to give

satisfaction.

ROYAL ITALIAN OPERA. THE season began famously on Thursday; the opera was Rossini's Conte Ory; the cast was, almost in every respect, worthy of the music; the band, so justly celebrated, maintained Il Conte Ory its reputation, and Mr. Costa, the conductor, his. was first produced at Covent Garden at the close of last season, and was only given two nights. All musical judges heard it with delight; the public, however, though well pleased, did not accept it with the same enthusiasm. Time was when music was prized for its own sake-and story and scenery, dresses and decorations, were recognized exclusively as adjuncts. Now-a-day, music would seem to be a secondary consideration. Unless there be spectacle and stirring incident; unless the eye be dazzled, the ear tickled, and the understanding excited, no opera succeeds. Modern composers have found this out, and act upon it. The libretti of the present day are all good—too good. Verdi and Halévy choose good books no less than Auber and Meyerbeer. Even Messrs. Clapisson and Adolphe Adam, "of the Institute," reject obscure plots, and will not write to_rambling dialogue and ill-digested incident. Herr "books," no others; not Richard Wagner will have his own even Professor Praeger's of Hamm. We must look about us, or we may "drift," without knowing it, into the "music of the future," as the ministers into the war. Modern composers make good books a sine quâ non. They are right, perhaps. Would that Mozart and Rossini had set them the example! Nevertheless, there are operas, composed to villainous libretti, the music of which, to our way of thinking, more than redeems the poet's delinquencies. Il Conte Ory is one of these. The melodies are so fresh, flowing, and sparkling; the invention so inexhaustible; the instrumentation so clear and finished; and the general treatment and colouring so masterly, that he must be hard to please indeed, who cannot yield himself up to such a banquet of harmonious beauty, without grumbling because To the real lover of music, the drama is a queer one. we hardly think a better conducted story would have afforded one iota of additional pleasure. But this by the way. second only to Il Barbiere, and, in some instances (as in the trio Il Conte Ory is one of Rossini's masterpieces-as a comic opera in Act 2), rising far above that true chef-d'œuvre. It was the Opéra in Paris, and was produced a year before Guillaume Tell. first complete work which the composer presented to the GrandThe first act is in the true Rossinian comic vein, and contains one of his most varied, and best constructed finales. But the second, in more than one instance, fortells the majesty and gorgeous colouring of Tell. The trio in the second act, on which occurs the terzetto, "Di trema e di speranza," is (as we have hinted) one of Rossini's most genuine inspirations. It is worthy of Mozart. The introduction to the second act, with the chorus of ladies, varied with duets for the Countess and Ragonda, interrupted by the storm, to which succeeds the prayer of the suppositious female pilgrims (behind the scenes), is one of the capital morceaux of the opera. Not less masterly is the scene in which the cavaliers, the Preceptor and the Count, are drinking and making merry in the absence of the Countess and her ladies. The chorus, "Evviva l'allegria," is as characteristic as any of the German people's-songs. The aria buffa, "In quel deserto loco," is inimitably comic; and the bacchanalian, "Beviam, beviam di cor," exhilirating to a degree. This scene, well performed, cannot fail to produce an immense effect.

Of the performance, with the exception of the choruses, which terms. The cast was the same as last year, with one exception, were very imperfect and unsteady, we can speak in the highest the substitution of Signor Gardoni, in the part of Count Ory, for Signor Luchesi. Signar Gardoni made his first appearance on this occasion at the Royal Italian Opera, and the character selected for his début, is admirably suited to him. He was familiar with the music of the Comte Ory, having, if we remember rightly, many years ago, appeared in that opera, at the Academie Royale (now Impériale) of Paris. Signor Gardoni sang the music of the Count delightfully, and with so much effect on several occasions as to elicit the loudest marks

of approbation from the audience. His voice is as fresh and beautiful as ever, and the purity of his intonation is no less remarkable. He acted the part, too, with the utmost spirit and vivacity; while the ease of his manner and the gracefulness of his deportment conferred a natural charm upon the whole impersonation. Mdme. Bosio was received with the warmth due to an acknowledged and deserving favourite. This lady has worked her way slowly and surely to the highest rank among soprano stage singers, and is now indispensable to the Royal Italian Opera; her engagement being a sine qua non with the subscribers. How exquisitely she can sing Rossini's music was first shown in the Barbiere and subsequently corroborated in Matilda di Shabran. Few sopranos, with a voice so flexible as that of Mad. Bosio, we have heard, who could sing the large and elaborate largos of Rossini with such dignity of effect, and well-rounded phrasing. It is not alone in the florid music-of which she is so acknowledged a mistress-that Mad. Bosio excels. She is equally at home in cantabile, which she more than once proved on Thursday night. The aria d'intrata, or, more properly, aria with chorus, "Soffrir, penare ognora"-a true Rossinian largo-was sung to perfection, while the cabaletta exhibited the greatest mastery of bravura passages. In the finale to the first act, Mad. Bosio had an arduous task, which she accomplished in a manner worthy of a consummate artist. In the unaccompanied septet, and in the elaborate divisions of the last movement, her vocalisation was beyond reproach. Perhaps, however, her finest effort was in the trio of the second act, in which she was powerfully supported by Mdlle. Marai and Sig. Gardoni. Mad. Bosio has not only confirmed, but added to her reputation, by her impersonation of the Comtess de Formontiel, and, more especially, by her execution of the music.

For the amorous page, Isoliero, we could hardly have had a more fitting representative than Mdlle. Marai, who-although lacking the semblance of a page, and not being dressed according to the received notions of uniform suitable to young aristocratic attachés-sang very charmingly, and acted with great animation. In all the concerted music Mdlle. Marai, who is clearly an artist, was of infinite value.

The part of Raimbaldo, friend of Count Ory, was sustained by Signor Tagliafico, in a very original and efficient manner. Nothing could be more truly comic-Rossinian comic-than his singing and acting in the aria, " In quel deserto loco," descriptive of the adventures in quest of the bottle. He almost rivalled Lablache in rapid and voluble enunciation. Nor was Signor Tagliafico less valuable in the concerted pieces. In the first finale, more especially, not only his singing but his acting tended in no small degree to aid the general effect.

In the quaint part of Ragonda, the lady with a reversed foolscap for a head-dress, Madame Nantier Didiée was perfect perfect both in a vocal and histronic sense; and, notwithstanding the monstrous appendage alluded to, her "make-up" as Keeper, or Duenna of the castle, was inimitable. M. Zelger has played the preceptor in more languages than one. We have seen him in the part when Le Comte Ory was produced, under Mr. Mitchell's management, at the St. James's Theatre, some years ago. M. Zelger sang the music well in the French tongue; the softer Italian does not appear to have placed him in any strait. The character of L'Aio-an odd name enough-is an important one, and M. Zelger looked important. The fine bass air, "Vegliar io deggio," was given with a due pomp and gravity; and his music generally was carefully sung. M. Zelger invariably does his best in every part he undertakes; and L'Aio, the Preceptor, is one of his best parts.

Of the chorus we cannot speak in terms of praise. They were careless in the first act, and their inaccuracy and unsteadiness inflicted considerable damage on the famous scene in the second, where the cavaliers join in the drinking song. We trust some improvements will be manifested to-night, when Il Conte Ory is to be repeated.

The band was as fine as ever, and Mr. Costa was received with loud and unanimous cheers on his appearance in the orchestra.

The ballet divertissement, L'Etoile, produced last season with

so much éclat, concluded the performances. It was supported, as before, by Mdlles. Battalini, Esper, M. Desplaces, and a very attractive troupe of coryphées; and, furthermore, had the advantage of Mr. W. Payne's comic acting. The divertissement is well put on the stage, has a charmingly painted moonlight by Mr. W. Beverley, while the dresses are rich and appropriate, and some of the young ladies exceedingly pretty and tempting. At the end of the opera, the curtain rose again after a short interval, and the principal artists of the evening, reinforced by Herr Formes, Signors Soldi and Polonini, appeared, to sing the National Anthem; whereupon the audience stood up, and the house presented the usual brilliant appearance. Mdlle. Marai sang the first verse, Herr Formes the second, and Madame Bosio the third. The applause was deafening. What will it be on Thursday, oh ye nations!

We were pleased to recognize Mr. Alfred Mellon again at his post as conductor of the ballet.

On Thursday, Her Majesty has commanded the performances, and will visit the theatre in state, when Fidelio will be given with Mdlle. Jenny Ney as Leonora, and Tamberlik, Formes, Tagliafico, Luchesi, and Mdlle. Marai in the other parts. Their Majesties the Emperor and Empress of the French will accompany the Queen. Upwards of four guineas have been already offered for a single stall.

MR. GEORGE CASE'S ANNUAL CONCERT. NEARLY two thousand persons assembled at Exeter-Hall, on Wednesday evening last, on the occasion of the above entertainment. The attractions were not a few. There was a tolerably efficient band; the list of vocalists comprised some of the leading names in the metropolis; Mr. Case, who is a favourite with the public, played on several instruments; and the concert was of great length-a certain though a questionable temptation to the crowd; besides other things which need not be mentioned. Among the instrumental performances, which were more than usually plentiful, some novelties call for notice. A grand sestet for six performers on three pianofortes, composed expressly for this occasion by Herr Adolphe Gollmick, was executed by Misses Case and E. Antoine, Herren Kühe and H, Bohrer, Messrs. W. G. Cusins and Francesco Berger. The themes introduced in this dashing affair were God save the Queen," "Partant pour la Syrie," and the Austrian national anthem, "God save the Emperor." The performance was received with thunders of applause, the audience standing up at the introduction of the French and English national airs. A better specimen, we think, however, of Herr Adolphe Gollmick's powers was the Grande Marche Heroique, played with great effect by the band, under the direction of the composer. Another performance worth specialising was the Air Varie (No. 5) of De Beriot, executed by Mr. George Case on the violin, to the evident satisfaction of the audience who applauded vehemently. Mr. Frederick Chatterton also displayed his well-known skill in a fantasia of his own composition on the harp; and Mr. George Case won golden honours by a concertina solo. Nor, indeed, must we altogether overlook a so-called "Grand Septet," by Mr. R. S. Pratten, founded on a French national melody, for flute, clarionet, bassoon, cornet-á pistons, horn, trombone, and double bass. The executants were Messrs. R. S. Pratten, Lazarus, Baumann, T. Harper, C. Harper, Cioffi, and Howell, a powerful constellation of talent.

Of the vocal music we have only room to allude to Miss Stabbach's ballad, "The Sailor's Grave" (very tastefully sung and unanimously encored); Mad. Anna Thillon's Minnie (encored); Mr. Sims Reeves's "What will they say" (encored"My pretty Jane" substituted, and followed by the usual enthusiastic demonstration); the same singer's "Oh! 'tis a glorious sight;" Mr. Henri Drayton's Irish ballad, "Mother he's going away" (encored); Mrs. Sims Reeves's "Ocean thou mighty monster;" Miss Lizzy Stuart's "The harp is now silent;" Mdlle. Rita Favanti's "Non piu mesta " (a brilliant and striking performance, loudly applauded), and "Ah giei soffre " (Ricci's a capital specimen of vocalisation in another style); and Mr. Weiss's "Village Blacksmith" (almost encored). There were many other songs by mnay other singers which we have no space to describe. Suffice it, Mr. Case's

numerous patrons dispersed at the end of the entertainment, having had a feast of harmony and a flow of tune enough to last them for a twelvemonth to come-say till next spring, when Mr. Case gives his next "festival" in Exeter Hall.

AMATEUR MUSICAL SOCIETY.

THE fifth concert, on Monday evening week, was remarkable for a careful performance of Mr. Henry Leslie's very clever Symphony in F, of which we have spoken more than once, and which began the second part. The band is now familiar with this work, and that they like it is evident from the zeal and spirit with which they perform it. The overture to Zauberflöte, and the Wedding March from A Midsummer Night's Dream, were included in the first part; and the last, especially, was wonderfully well played by the Amateurs. The "selection" from the Huguenots (we thought "selections" were abandoned) showed off the "solo" attainments of some of the chief members of the orchestra, and among these must be signalized Mr. Alfred Pollock, whose talent on the oboe is more strictly professional than amateur. The overture was the sparkling and familiar Gazza Ladra. The vocal music was entrusted to Miss Manning, who sang an aria of Ricci, and Mr. Waley's graceful song, "Oh, where art thou dreaming?" Mr. Henry Leslie, under whose guidance the band is evidently progressing, was, as usual, the conductor.

AMATEUR PANTOMIMES.

We have been requested by an Amateur Acrobat to publish the following letter, which has already appeared in the columns of a contemporary :—

To the Editor of the Daily News.

SIR,It is stated in the Daily News of this day, that a pantomime was performed at the Olympic on Saturday evening last for the first time by "amateurs." There is no doubt you have fallen into this error in consequence of the same remark in the prologue spoken on Saturday. As the chairman of the Printers' Dramatic Society, I beg to inform you that the first pantomime performed by amateurs was written by Mr. W. Dorrington, a compositor, and member of the Printers' Dramatic Society, and was put on the Soho boards in February, 1852, and that the performers, male and female, were all connected, directly or indirectly, with the daily morning newspaper press.—Yours, etc., C. B. CHRISTIAN, April 2. Chairman of the Printers' Dramatic Society, So that the members of the Fielding Club were not the first to project and carry out an amateur pantomime. Taking this, however, for granted, we should like to be made acquainted with the names of the male and female contributors to the "morning newspaper press " who combined their efforts in the "Soho exhibition.

SADLER'S WELLS.-The Lyceum company-minus the lessees and one or two more have transferred themselves to this theatre for twelve nights. The pieces during the week have been Husbands Rejoice, The Cosy Couple, and Two Heads better than One. Although the répertoire of the Lyceum might possibly have supplied a better selection, the pieces are all amusing. The qualities of Mr. and Mrs. Frank Matthews are well known, as performers in vaudeville. Then we have Mr. R. Roxby and Mr. F. Robinson (the latter an old stager here), the pretty Miss Hughes, and the bright-eyed, dark-haired Martha Oliver-whom we remember at the Marylebone Theatre as a dramatic bud, just unfolding its leaves. Mr. Phelps must secure and naturalise the fair exotic; she will bloom in his collection. The

attendance has been moderate. Where is Miss Talbot ?

STRAND.-The holiday piece, King Queer and his Daughters Three, is a burlesque on King Lear. Although we do not think that, in this instance, the author has chosen his subject well, the piece is amply sup plied with point and humour. Miss Isaacs plays Cordelia, who, being banished, re-appears as the Fool, and thus gives an account of herself to the King

"In my accomplishments you'll find no flaw,

My best acquirement is-that I can draw."

And in another couplet, the fair chronicler of her own attractions, will "by no means allow that she is plain." These hints were received by the audience with the accustomed approval. Miss Beaumont, as Oswald, is as amusing as ever. The house has been full, and the piece will, doubtless, have the usual holiday run.

REVIEWS.

HANDEL'S SONGS." Edited by G. A. Macfarren. THIS new edition of Händel's most popular oratorio songs is, valuable in more than one respect. In the first place, purity in the arrangement of the orchestral accompaniments-a great recommendation-may be counted on from such a musician as Mr. Macfarren. In the next, each song is prefaced by some interesting historical and critical remarks, to which his initials are affixed. From these we gain, not only an admirable appreciation of the intrinsic merits of the compositions, but useful hints as to the style of expression that should be given to each of them by singers together with curious information in reference to Händel's original intentions. For instance, in the Messiah-" Behold, and see," and "But thou didst not leave his soul in hell"-which are generally assigned to two singers, a tenor and a soprano-Mr. Macfarren contends were both written for a tenor voice, and, with "Thy rebuke," and "He was cut off"-the two recitatives which precede and follow the first-were meant by Händel as a connected series to constitute a complete whole. In deference to this opinion, we believe, the Sacred Harmonic Society, in some of its recent performances, has restored the true reading with excellent effect.

The air, "But who may abide," we are told by Mr. Macfarren, was composed for a contralto voice, three years after the Messiah was first produced. Being dissatisfied with his own original setting of the words for a bass, Händel re-set them in the form of an unaccompanied recitative, for the first public performance of the oratorio. This, however, was ultimately superseded by the present well-known air, which, although it has for many years been invariably allotted to a bass voice, has also, at Mr. Macfarren's suggestion, been restored, by the same society, to the voice for which Händel had written it. Among the reasons given for the air being better suited to a contralto than to a bass, the term prestissimo, affixed to certain parts of it, is cited. Mr. Macfarren says that he can find no other instance of Händel's making use of that term in his music, and thence draws the inference that those parts of the air to which it is attached were meant to be sung quicker than any other movement of the composer. The ground of this reasoning lies, of course, in the foregone conclusion that the contralto voice, per se, is more adapted to rapid enunciation of notes than the bass, which, however, it is probable many professors of the art of singing would dispute. In the opinion, that retarding the time, by which the omission of the harmony of a the liberty taken by singers, at the end of the first prestissimo, of whole bar becomes inevitable, is unwarranted, we agree with itself, however beautiful and varied, "is the most varied and Mr. Macfarren; but we cannot agree with him that the air beautiful in the Messiah;" or that it is less effective for a bass than for a contralto voice, even admitting the assumption that it was composed for a contralto.

In " He was despised," Mr. Macfarren suggests that, in order to dispense with the custom adhered to by singers of omitting the second part ("He gave his back to the smiters"), to avoid the effect of lengthiness, which has led to it, and to restore the form of air so commonly adopted by Händel, the first part should be abridged in the repetition. The manner of abridgement has been supplied by Mr. Macfarren himself, by the simple means of curtailing the opening movement of three-and-twenty bars. Objection might be made to this; but, as we have already heard the whole of it, not a single beauty is lost; and, as the curtailment is made without the alteration of a note, Mr. Macfarren Händel. This, indeed, is very different from the profane and cannot be charged with any want of reverence for the text of unmusical proposition of the Examiner, in a recent number, to cut out "at least half" the first movement of Beethoven's Choral Symphony. With the strong suggestion, that singers may confine their monotonous habit of drawling out the last bar (and the last note) to the repetition of the first part, should the proffered restoration be accepted, we heartily sympathise; hardly so with the transposition of the air from E flat into G.

"Comfort ye my people" is also transposed, from E into D; "I know that my Redeemer liveth," from E into D flat; "How beautiful are the feet," from G minor into E minor; and "He shall feed his flock," from E flat into G. With regard to the

latter, Mr. Macfarren has very wisely adopted the authority of the author's manuscript, and printed both verses in the same key, instead of dividing the song, according to the absurd custom which has prevailed, between a soprano and contralto: but he has omitted the repeats of each strain or section of the melody, to which we can find no objection. In "How beautiful are the feet," he has restored the second part, for which Händel himself substituted a chorus, set to the same words-"Their sound is gone out"-inferring, judiciously, that when the air is detached for private performance there is no occasion for curtailing it. With reference to "I know that my Redeemer liveth," it is suggested that the term larghetto be translated in its literal rather than its technical sense, on the ground that Italian definitions were thus interpreted in Händel's time, and that the corruption of their literal meanings are comparatively of modern origin. Thence we derive the comfortable fact, that this beautiful song should not be drawled out like a dirge, as is the wont of our public singers, without exception, and which, as Mr. Macfarren justly remarks, is utterly at variance with its character.

We look forward with great interest to future numbers of this edition of Händel's songs, which, we presume, will include those of other oratorios besides the Messiah.

"NEW SYSTEM OF SCALE PRACTICE." For the Pianoforte. By T. SCARSBROOK.

If the scales, as laid out by Mr. Scarsbrook, are practised diligently, the pupil can hardly fail to derive benefit from them. The absolute novelty of the system, however, escapes our observation. In the early exercises-which are confined to the eight notes of the octave a good expedient is found for repeating the passage of the thumb, by taking five, six, seven, eight notes, and back again, alternately, until the scale is accomplished. In the scales of two octaves, the two lowest and two highest notes (say C D, C B) are twice repeated, the object of which, we presume, is to give additional steadiness to the position of the hand, before starting and restarting; and in the chord exercises, the chord is first given in arpeggio, and then in full. The harmonised scale, with variations, although the harmony is not very good-instance bar 2, which begins feebly on a chord of the sixth, and bar 3, ditto, to say nothing of the false relation between G in the treble and G sharp in the bass, in chords which succeed each other-is useful for practice. The last exercise, in F, for octaves, on the air " Garry Owen," presented in three different keys alternately, though not a rich example of two-part harmony, will also be found useful.

"SIX GERMAN VOLKSLIEDER,"-transcribed for the piano, by Adolph Gollmick. Op. 32.

THESE little pieces are both useful and agreeable. M. Gollmick has selected some of the prettiest and most popular of the national airs of Germany, which he has arranged in such a manner as to place them within reach (after a moderate amount of practice) of amateurs of average capacity. A brief introduction precedes each melody; it is then given without ornament, and afterwards varied. The Volkslieder alone would suffice to engage attention, since they are genuine and healthy tunes; but M. Gollmick has harmonized them well, and his variations are ingenious without ever losing sight of the themes. The names of the lieder are: "Treue Liebe (True Love); "Wanderlied," (Parting song); "Liebe und Glück," (Love and Happiness); Rheinweinlied," (Rhenish drinking song); "Annchen von Tharau," (Annie of Tharau); and "Der Gute Kamrad." (The true friend).

Perhaps, the most inviting of the series is "Liebe und Glück," founded on the well-known people's song, beginning :

"Du, du, liegst mir im Herzen," etc.'

The first variation on this, in arpeggio, distributed between both hands, if not very novel, is graceful; while the second, with a florid bass, is equally clever. Our next favourite is the

"Rheinweinlied," the melody of which, marked with the vigour of some of the English sea songs, is treated by M. Gollmick with characteristic boldness. Perhaps the most unpretending of the set is the serenade ("Annchen von Tharau"). The last variation in this is very effective; but the third (p. 5), styled "Religioso," contains some chromatic harmony not in keeping with the extreme simplicity of the tune. In the theme of the "Wanderlied," a glimpse at Mr. John Barnett's popular ballad, "Farewell to the Mountain," will be recognised. It is none the worse for that.

SIX SONGS, written by Longfellow, James Russell Lowell, Melopoyn, and Miss Emily Ham. Music by Elizabeth Philp. Miss Elizabeth Philp is lucky in her poets, for, though the two lyrics of Longfellow, which she has set to music, are by many degrees the best, the others are by no means devoid of merit. Miss Philp, herself, has certainly the faculty of tune. Some of her melodies are pretty and expressive. We would instance, No. 6, "Good night" (Longfellow), which, though simple, has a natural grace about it that cannot fail to charm. On the other hand, No.4, The Serenade" (J. R. Lowell), with its plentiful shower of arpeggios in the accompaniment-not out of keeping, by the way-while equally unpretending, is tender and appropriate. The best song, however, is No. 5, "The Soul and the Sea" (Miss Emily Ham), which is unaffectedly touching, and would justify reference to Tennyson's beautiful line—

"The tender grace of a day that is dead." About No. 2, "The Sea hath its Pearls" (Longfellow again, and of the best), there is a sort of melancholy wildness, which may probably have been caught from the Irish melody, of which a lady of such taste as Miss Philp must necessarily be a devotee. The song, however, which is in D minor, is almost spoiled by the second part in the relative major, bordering on the common place. In No. 3, "Moonlight" (J. R. Lowell), there are too many A flats, and the melody becomes bald and monotonous. The accompaniment, however, in triplets, is carefully written. No. 4, "Oh! had I the voice of a bird" (Melopoyn), is too much in the sentimental ballad-school of the present day to be worthy companionship with the rest, although the melody is easy and singable.

For the harmony of her accompaniment, Miss Philp, who has evidently a nice feeling for music, should be careful to avoid consecutive fifths and octaves.

ORGAN.

NEW ORGAN FOR PRESTBURY CHURCH, MACCLESFIELD. A NEW organ for Prestbury Church has just been completed and forwarded to its destination by Mr. Walker, of Francisstreet, Tottenham-court-road. It is a small instrument of two rows of keys, with but sixteen speaking stops; but is altogether a very favourable specimen of its builder's style of manufacture. First of all, we are rejoiced to notice that its great organ manual is of the legitimate compass-namely, that its downward extent is to CC. To this arrangement, we believe, Mr. Walker now declares himself a convert, which is distinctly a matter of congratulation to him and to the organ-loving world at large, for every fresh accession of opinion is so much gained to the right side in that battle which, we regret to say, has yet to be finally won. The stops in the great organ are ten, including a 16-feet register, a four-rank sesquialtera, aud trumpet. The swell extends but to tenor C, and has eight stops, including a mixture, cornopean, and oboe; and the pedal has but one register, an open 16-feet. With the limited means at his command, we do not see that the builder could have adopted more judicious arrangements. The organ certainly presents no feature of novelty, but as it was specially intended for church service, and with little, if any, view to solo-display, a certain amount of force was necessary, and to secure this, with a small number of stops, the minutia of more fanciful arrangements were, we think, rightly sacrificed. The voicing of this instrument is, on the whole, very satisfactory. We must object that the keraulophon of the great organ has not quite the transparent thinness of tone which should individualize