Professional Musicianwants a great deal of information at a time. If he it really ignorant who and what are1 Messrs. George Osborne, Brinley Richards, J. L. Halton, Sam Lover, George Linley, Stephen Glover, and J. W. Hobbs, his acquaintance with the "profession" must be, as the poet Hale says, "uncommonly slim." On these heads we refer him to the Musical Directory of Messrs. Rudall, Rose, and Carte. M. Oscar Comettant is a Parisian critic, composer, and pianist of some repute. Of Mr. J. W. Cherry we have never heard. Is our correspondent trying to pass a hoax vpon us?

Adalgisa.All that can be gathered about Parodies may be seen by our fair correspondent in the translation of a short memoir from the Biographie TTniverselle des Musiciens of M. FStis, which will be found in our present number. We have no reason to doubt that Parodies did write the instrumental score of her own operas. Other lady composers have done so, and why not one of such acknowledged ability?

An Organist.We have referred an Organist's letter to our contributor on organ matters.

J. W.—We do not know the lady's address; but it can be obtained of Cramer, Bcale dk Co., 201, Regent-street.

Erratum.In the notice of Royal Italian Opera (page 234), for the Countess of "Formontiel," read Formoutier.

J. S.—(Lewisham).Address the inquiry about the music to Messrs. Boosey and Sons. We have forwarded the letter.

BIRTH. On the 17th inat., at 27, West-square, Lambeth, Mrs. John Holman Andrews, of a daughter.


LONDON, SATURDAY, April 21st, 1855.

The correspondence which appears in another part of our impression lays the case of Mr. Edmund Chipp, late Member of the Queen's Private Band and Musician in Ordinary to Her Majesty, so completely before the reader, that he may draw conclusions for himself without the aid of editorial comments. Indeed, so far as we are concerned, we can do no more at present than reiterate our conviction, that, when Her Majesty and H.R.H. Prince Albert are made acquainted with all the circumstances, Mr. Chipp will be re-instated in his place. We are aware that it is very difficult to approach the ears of Royalty j but we are equally convinced that Colonel Phipps would not willingly be the instrument of doing an injustice to any one, however humbly situated; and that when Mr. Anderson, Director of the Queen's Private Band, is persuaded of Mr. Chipp's innocence of any knowledge of, or participation in, the letter signed "Truth," he will be the first to intercede for him, should intercession be required.

We were in some apprehension that Mr. Chipp might be wholly dependant for professional subsistence on the Royal service, and are very glad to be undeceived. This, however, is not the chief point at issue. The chief point at issue is a point of honour. When an old and faithful servant is discharged, it regards his honour that the reason of his dismissal be made public. This, and no other, consideration has induced us to interfere in the matter.

"What'a Hecuba to him, or he to Hecuba?"

Mr. Chipp is nothing to us, and we are nothing to Mr. Chipp. It is only because we aspire to the high distinction of representing the interests of the musical profession, because our journal is devoted to music, and appeals to the sympathy of musicians for support, that we como forward,

and shall always be ready to come forward, as the champion of musicians whenever, as in the present instance, we are fully assured their claims are just and unanswerable. The question lies in a nutshell. Mr. Chipp has been dismissed from Her Majesty's service. Why? On the pretext that he was the author of a letter which appeared in the Musical World, under the signature of " Truth." But Mr. Chipp was not the author of that letter. He knew nothing whatever about the letter, when it appeared; and, to this day, he has not the slightest notion who wrote it. Has he then been fairly treated? Most assuredly not. He has been discharged in a summary manner, through whose influence, and with what purport, will no doubt be made clear to the world. At present a cloud hangs over the whole affair, and shuts out the knowledge of the truth. That cloud must be dispersed; and when it is dispersed, we shall see what we shall see.

Why has Mr. Horatio1 Chipp resigned? He was not dismissed. Why has M. Sainton resigned J He was not dismissed. Why has Mr. threatened to resign? There

is no chance whatever of his being dismissed. Why is the whole private band of Her Majesty the Queen in a state of tremor and excitement? No probability exists of the whole of them, being dismissed. There must be "something rotten in the state of Denmark." We have said it before. No matter. We may have to say it again, and, perhaps, to add notes of explanation.


11 Conte Ory was repeated on Saturday and Tuesday. The ensemble, so good on the opening night, was better on the second and better still on the third. Sig. Gardoni sang delightfully and Mdme. Bosio was even more perfect than before. It is no small compliment to this admirable artist to say that she, of all high sopranos we have heard of late years, most thoroughly understands and reverences the music of Rossini. It has been, for a long time, too much the fashion with singers to consider Rossini's melodies as little better than themes for embroidery, and, in place of" CJna voce," or "Di Piacer," we have variations and ricercate cooked up by some Italian singing-master for the occasion. The majority of vocalists, like some of our critics, have no faith in original genius. II Conte Ory in one paper (The Examiner) is described as "light, airy, and flexible;" {flexible music !) while another, (The Spectator) finds it "overrated," a "rifaccimento of the Italiana in Algeri, II Turco in Italia, and IlBarbiere;" and, if "a comic opera, the worst ever written." (!!) No reasons or arguments, of course, are adduced for this opinion: they would be difficult to invent. We suppose, then, Le None di Figaro is not a "comic opera," because it contains some pieces which are not "light, airy, and flexible ;" nor L'Ftoile du Nord—on the same account. We fear our critic is forgetful that there are high and low comedy for the lyric as well as the dramatic stage. R Conte Ory is essentially a comic opera, though of a higher order of comedy than La Cenerentola, just as Figaro is of a higher order of comedy than 11 Barbiere.

II Conte Ory is a masterpiece, at any rate. All the critics in Europe shall never make us alter that opinion. A third hearing, on Tuesday, more than ever convinced us of the fact. With the exception of the second act of Guillaume Tell, Rossini never composed anything so complete as the second act of H Conte Ory, which, in all the essential qualities of good dramatic music, comes nearer to Mozart than anything we have heard in a theatre. A performance so perfect in every respect as that at the Royal Italian Opera must tend to impress upon the public mind the manifold beauties of the work. Magna est Veritas at prevalebit. H Conte Ory is a great truth, and will prevail.

Thursday night was the night of nights at the Royal Italian Opera—the imperial night—the real grand exhibition night, when majesties were displayed to public eyes and opera glasses at exaggerated prices. The entire world of aristocracy was there, and all who could afford it came to offer homage to the bond of amity made manifest between the two mightiest sovereigns of the earth. It was a sight worth paying for, and few of us may ever witness such another. The Queen commanded Fidelio for the occasion. May it not be suggested, with deference, as curious, that an English Queen, with a SaxeGothaic consort, ordered a Prussian opera in an Italian theatre to be played before a French Emperor and a Spanish Empress, by Austrian and other performers? The interior of the house was decorated in the most tasteful and elegant manner. The fronts of the boxes were draped with white satin edged with gold, while festoons and flowers suspended from box to box, afforded great and pleasant relief to the eye. In the centre of each box, on the first, second, and third tiers, were emblematical devices on embroidered white satin, exhibiting the letters, "N," "V," "E," "A," alternately distributed round the tiers. The Royal Box, placed in the centre of the house, was almost identical with that occupied by Her Majesty and suite on the occasion of her last state visit. Several boxes on the pit, grand, and first tiers, were thrown into one, forming a lofty and spacious compartment, surmounted by a large and massive crown in crimson and gold, from behind which shot gilded spears in rayons, like stars. The interior was gorgeously furnished, the prevailing colours being scarlet and gold, the canopy overhead, being formed of white satin with gold edging and tassels. The chairs and footstools corresponded in splendour with the general decoration.

As it was announced publicly that the Royal and Imperial party would not make their appearance until late, the opera commenced at the usual time, and the overture to Fidelio was the signal for a slight show of attention on the part of the spectators, and the withdrawal of numerous eyes from the Royal Box, which, during the evening, in the intervals of the performance, naturally constituted the centre of attraction. How the audience was absorbed by sentiments of loyalty and curiosity, was evidenced in the apathetic manner in which such favourites as Signor Tamberlik and Herr Formes were received on their appearance, and the indifference displayed towards Mdlle. Jenny Ney, who made her dibvt before a British public. But the majority of visitors came, not to bow down at the shrine of Beethoven's genius, nor to derive gratification from the music and the singers, but to pay homage to the Queen and her guests. If, therefore, we are less discursive than is our wont on the first appearance of a singer of renown, and

the first representation of one of the greatest efforts of musical genius, it is because it would not be fair to deliver judgment under such circumstances. "We must, consequently, postpone the consideration of Mdlle. Jenny Ney to another opportunity; merely stating that she is a singer of undoubted intelligence, with a voice of great power and compass.

The Rocco of Herr Formes—we speak from antecedents—is a study. The art with which the German singer makes the rough and kindly nature of the gaoler perceptible, even through the darkest incidents of the drama, whereby it is evident that long familiarity with crime, and long occupation of a degrading office, have not been entirely able to quench the feelings of the man, is enough to stamp him an actor of the first class. A more careful and highly-finished histrionic effort, indeed, could hardly be cited. The scenes with Pizarro, his tyrannical master, and those with Leonora, the poor youth whom Rocco has compassionately taken into his service, are admirably contrasted. When Leonora declares herself, to the dismay of her husband's enemy, the natural astonishment of Rocco, interrupted in his work of gravedigging by such a startling revelation, is made a point of by Herr Formes, and, from its picturesqueness and genuine truth, completes with powerful effect the dramatic interest of the situation. How well he sings the music, from the air in praise of gold to the last of the concerted pieces, it is unnecessary to add. Had Beethoven written expressly for him, he could not have suited him more happily.

With so engaging and artistic a representative of Marcellina as Mdlle. Marai, it would be impossible not to be thoroughly satisfied. Nor could the minor parts of Jacquino and the Minister have been entrusted to more competent and painstaking singers than Signors Luchesi and Polonini—indeed, the former is, by far, the best Jacquino we have seen. Sig. Tagliafico's Pizarro, as a piece of acting, is the finest we ever saw, and few ever sang the music with a larger amount of intelligent appreciation. More of him next time.

It was the first appearance, this season, of that great and deserving favourite, Signor Tamberlik, whose impersonation of Florestan cannot be praised too highly, and whose execution of the splendid recitative and air, in the prison scene, seems to have lost none of that force and eloquence which have placed it among his capital achievements. The first few notes of recitative proved, at once, that the rigorous climate of St. Petersburgh has no power to impair the fulness and sonorous quality of Signor Tamberlik's voice. The whole reading of the air, the fine delivery of the declamatory passages, and the passionate fervour with which the allegro movement—where the oboe plays so interesting and suggestive apart in the orchestral accompaniment—was sung throughout, showed that, Roman as he is by birth and education, Signor Tamberlik is fully able to appreciate and enter into the style and meaning of this profound and eminently German music.

On the entrance of the Royal party into the box, at the end of the first act, the whole house stood up and cheered for several minutes. Mr. Costa then lifted his bdton, and the band struck up " Partant pour la Syria," after which the curtain rose, the artists not engaged in the opera appeared on the stage, and the National Anthem was sung, Mad. Bosio leading off with the first verse. But the great excitement of the evening was at the end of the opera, when the curtain again rose, and " God save the Queen" preceded "Partant pour la Syrie." The stage was thrown open to its utmost limits, and crowded with ladies and gentlemen in the back-ground, who had paid dearly for standing room during the performance of the National Anthem. Two bands of the Guards—one at either side of the stage— assisted the orchestra, and the combined instrumental and vocal force poured forth such a volley as literally bombarded the audience with harmony. Enthusiasm rose to its highest, and the Eoyal and Imperial Party having bowed their acknowledgments, retired amidst reiterated plaudits.

Mdlle. Fanny Cerito—one of the " Stars of Arcady" of Her Majesty's Theatre—made her first appearance at the Eoyal Italian Opera, with signal success, in a scene from a new ballet called Eva (which will be given entire to-night). Of the admirable talent of the celebrated danseuse, as of the merits of the ballet, we must postpone speaking till our next.

The reason why "Partant pour la Syrie" preceded the National Anthem when the Royal Party entered the box, and followed it previous to their departure, was, in obeyance to a suggestion of the Queen, that, on both occasions, the place of honour should be accorded to her Imperial visitor.

The new verse interpolated into the National Anthem, and written expressly for the occasion in honour of our allies, was as follows:—

Emperor and Empress,

Oh Lord, be pleased to bless;
Look on this scene!

And may we ever find,

With bonds of peace entwined,

England and France combined;
God save the Queen.

It was to be regretted that the words of this verse, which were completely unintelligible as sung by the chorus, were not entrusted to Herr Formes, or one of the solo singers, when, doubtless, their point would have been understood and appreciated by the whole house.

Herr Bernand Hildebraxd Romberg, the young and talented violoncellist, has arrived in London for the season.

New Philhabmonio Society.—The Emperor and Empress of the French have been pleased to add their names to that of Her Majesty as patrons of the grand performance to be given by the New Philharmonic Society on "Wednesday April 25th, in aid of the funds of the Hospital for Consumption, Brompton. Beethoven's Choral Symphony will be the grand feature of the performance.

Mr. Charles Mathews has relinquished the management of the Lyceum Theatre, and in fact brought his managerial character to an end. No doubt his fortunes will be improved by the resolve. As an actor, in his own particular department, he is unequalled; and wherever there is a theatre open in which polite comedy, or the pieces analagous to it, is cultivated, there will he be in inevitable requisition.


After a week's delay from the first announcement of the opening—not to be attributed to the directors, but to the winds and the commands of the French Emperor—the Royal Opera commenced its third season on Monday, with every prospect of success. No programme having been issued, we are not able to state the full strength of the company, nor to say whether, as bofore, German opera will be alternated with Italian. We hear rumours of a tenor and bass to fill up the vacua left by Herr Reichardt and Herr Formes, which, of course, points to German opera; but we are not possessed of direct information. The success of the Seraglio, Der Freisckiitz, and Fidelio, which stamped the reputation of the establishment, leads to the anticipation that German operas will again constitute a principal feature in the performances.

The Sonnambida was selected on the opening night, for the purpose of introducing to the English public, in the character of Amina, Madame Gassier, a singer of continental reputation. Judging by results, a more complete success has seldom been witnessed within the walls of Old Drury. Every scene was a new triumph, and the climax was reached in the famous "Ah! non giunge," when she created & furor. Madame Gassier was loudly applauded by the whole audience, encored unanimously, and recalled.

The new earUatrice is by birth a Spaniard. She belongs to the Persiani school, having a high soprano voice with great facility of execution, evidently showing that time and pains nave not been spared in making the best use of her powers. Madame Gassier, in fact, is an accomplished artist. She appeared, last season, at the Italian Theatre, in Paris, as Rosina, in ll Barbiere, and was received with distinguished favour, producing a marked sensation in a rondo, introduced in the lesson scene. Her execution of Amina's music was brilliant and expressive. The cavatina, "Cari campani," was an effective display of florid vocalisation, combined with neatness and finish. Madame GassierV acting indicates rather feeling than passion, and the finale to Act ft. was not distinguished by the dramatic power and energy to which we have been accustomed. She appears to follow the more gentle reading of Madame Sontag and the "Swedish Nightingale." The prayer in the last act was charmingly given; and, as we have said above, the rondo finale brought the opera to an end with eclat.

M. Gassier (Rudolph o) is a French barytone of great talent. He, too, was engaged last season at the Italiens in Paris, and made his appearance as Figaro in H Barbiere, subsequently undertaking many of Tamburini's parts with success—a fact in itself which indicates more than ordinary capabilities. M. Gassier possesses a voice of excellent quality, strong and flexible, and sings with ease and expression. "Vi rawiso" was a good example of correct and unobtrusive singing, and the scene in the bed-room was careful and intelligent. The public applauded M. Gassier heartily. He is a decided acquisition.

Signor Bettini is so much improved since last season that we hardly recognised him. With a voice fresher and more agreeable, he appears to have gained confidence, and is now altogether a better artist. The duet with Amina at once placed him on

food terms with the audience. He produced a sensation in the rst movement of "Tutto e sciolto," and was loudly encored. The band, numbering fifty or upwards, is under the efficient direction of Mr. Tully, and counts in its ranks some first-rate players. The chorus is also numerous and good. The whole performance, indeed, afforded gratification to an audience that filled every part of the theatre. After the opera, a ballet divertissement, by a pretty and effective corps of female dancers, detained the majority of the audience until near midnight. Im Sonnambida was repeated on Wednesday and Thursday. Mad. Gassier has already made progress with the public, and promises to become a special favourite. The attendance at the two last performances was as numerous as on the first night. This evening a performance of an entirely different character will take place. The directors have announced a "Grand CongrSs Dramatiqne," for six nights only, in celebration of the visit of their Imperial Majesties, the Emperor and Empress of the French, the first of which is to come off to-night. The drama of Les Cosaques—played for more than two hundred successive nights in Paris—will be represented in French, supported by all the original artists of the Theatre-de-la-Galte\


The third concert, on Monday evening, was but indifferently attended. The new conductor has evidently failed to excite public curiosity. The war of nations, however, is a more engrossing topic than the war of systems; and, until Sebastopol be taken, the question of Richard Wagner versus Music is likely to remain in abeyance. Thirty guineas a concert is, we must admit, a large sum for a chef-tCorchestre out of Zurich; but that is a matter which the reigning directors of the Philharmonic Society may possibly be called upon to explain, at some future congress of as many among the forty members as care a straw for its welfare. At the present juncture it is doubtful even whether a fifty-guinea time-stick would be able to rouse the apathetic, or swell the subscription list.

The programme of Monday's concert was as follows:—

Part I.—Sinfonia in A, Mendelssohn; Aria, "Va sbramando" (Faust), Spohr; Concerto, pianoforte, in B flat, Op. 19, Beethoven; Aria, "Bald 9chlagt die Abschieds stunde," Mozart; Overture, "Euryanthe," Weber.

Past II.—Sinfonia in C minor, No. 5, Beethoven; Recitative and Aria, "Ja, ich fuhl'es," Spohr; Overture, "Les Deux Jouroees," Cherubim. Conductor, Here Richard Wagner.

A contemporary (Hie Daily News) declares that he never heard the "Italian" symphony go so well. We regret to be at issue with him, but are forced to record that we never heard it go worse anywhere. A more coarse, monotonous, uniformly loud, and at the same time rigorously frigid performance, never left an audience unmoved and apathetic in a concert-room. It was deplorable to witness the contemptuous unconcern with which the whole of this admirable work of genius was regarded by the representative of the "future art-drama." The same thing was remarked at rehearsal. The band was never once arrested, nor did the conductor proffer a single observation. Herr Wagner's "reading" of the music of Mendelssohn may be signalised in a sentence:—Get to the end of it as quick as possible. It is not, however, for Dr. Liszt and the petty tribunals of Weimar and Leipsic to decide which is the greater man—the anthor of Lohengrin and Tannhaiiser, or the author of St. Paul and Elijah. No, indeed. Dieu merctf The symphony went off without any demonstrations of satisfaction; and that most heavenly of slow movements, which never before failed to create enthusiasm, scarcely obtained a hand of applause. It was barbarous!

In Weber's overture to Euryanthe the new conductor resumed his vivacity, his gesticulations, his "ups and downs," and his forced readings. This "went off" like a shell at Sebastopol— "fizzing" and screaming for dear life. It was not encored, however. The effect produced was what might be imagined after the unanticipated shock of an earthquake. The audience looked at each other, aghast. Some said "Wonderful!"—others said nothing; and these last were the wisest. Herr Wagner is as warm to his countryman, Weber, as he is cold to his countryman, Mendelssohn. But Mendelssohn was of Jewish extract; and the "shawms" of the Hebrews, we presume, are not to make part of the orchestra "of the Future, however the Present may hold Mendelssohn's "shawm" to have a sweeter tone than Herr Wagner's "trumpet," which is chiefly occupied in blowing flourishes for his own glorification. Nevertheless, with all his preference, in the "book" of Over und Drame Herr Wagner calls Weber, "the unhappy." He (Weber), it appears, plucks national tunes (wild flowers) from the fields, puts them in drawing-room vases, and is surprised that they die in spite of his watering-pot. His (Weber's) "stammering" is an honest confession of the incapacity of music to exist alone—and, as a natural consequence, of the superiority of Herr Wagner and his system of " real drama." Good. It is as well to°learn something of das Wesen der Mwik (/).

The execution of Beethoven's Symphony in C minor was chiefly remarkable for a variety of hitherto unknown effects,

pauses long (too long) drawn out, etc., and a quicker tempo for the last movement, to which, though unaccustomed, we have no objection, and which, indeed, we rather like than otherwise. Cherubini's fine overture offered little for comment.

Mr. Lindsay Sloper's performance of the early and very interesting pianoforte concerto in B flat of Beethoven,* was in all respects masterly; style and execution were equally free from reproach. He must be thanked, moreover, for choosing this particular work, and thus affording a little repose to the three grand concertos so frequently brought forward by pianists. His success was as great and well deserved as at the recent concert of the New Philharmonic Society, when he played the concerto in D minor of Mendelssohn.

The vocal music was unexceptionable. Mr. Weiss gave the noble air from Faust with the true spirit; and Mad. Rudersdorff, equally at home in the music of Mozart and Spohr, proved herself an accomplished vocalist The curious aria of Mozart, originally written for Zauberftote, was abandoned by singers in consequence of its difficulty. To Mad. Rudersdorff, however, it seemed to present none whatever.

The audience were cold to everything in the concert, which certainly did not elevate Herr Wagner as a conductor in the estimation of connoisseurs. Perhaps the overture to Tannhaiiser, which is to be performed at the fourth concert, and was rehearsed on Saturday, will do something more to advance his claims as a composer. Dr. Liszt, in a lengthy and teratological essay, proclaims this overture one of the most prodigious inspirations of the musical art.. Nous verrons.

* A very good arrangement of this was published, many years ago, by the spirited firm of Coventry and Hollier.

Mr. Agtjilar gave a Matinie of pianoforte music on Wednesday last at his residence, 68, Upper Norton-street, at which the executants consisted entirely of his pupils. The selection of pieces, containing specimens of every style was excellent, and the performance throughout remarkable. Among other compositions were Bach's Prelude and Fugue in C sharp, a sonata of Beethoven, the Allegro Brillante (Duet) and some of the Lieder ohne worte of Mendelssohn, two nocturnes and a Mazurka of Chopin, Prudent's Huguenots, and Kullak's Perles cTEcume. Besides the parents and friends of the executants, a select number of amateurs were present, who warmly testified their satisfaction.

Mr. Harrold Thomas.—The soirie musicale given by this young pianist was an exceedingly elegant entertainment, consisting entirely of chamber music of the most classical description. Mr. Thomas, is a pupil of Mr. Sterndale Bennett, ana has acquired much of the delicate finish and refinement of his instructor's style. His principal performances were Mendelssohn's Sonata for piano and violoncello, Op. 17. in which he was accompanied by Signor Piatti; and Beethoven s Sonata for piano and violin, No. 2, Op. 23, in which the violin part was played by M. Sainton. Both these beautiful pieces were admirably executed and warmly applauded. Mr. Thomas also played with great brilliancy Herr Pauer's Cascade, and several short pieces composed by himself. Songs and duets were sung by Miss Dolby, Miss Poole, and Miss Eliza Birch.—Daily News.

Rossini Asd Meyerbeer.—At a performance of Robert leDiable, Rossini, who was in a box with Meyerbeer, was so pleased with some particular morceau, that he said to his illustrious confrere: "If you write anything better than this, I will undertake to dance upon my head." "Yon had better, then," said Meyerbeer, "commence practising, as I have just finished the fourth act of the Huguenots."

Wagner And Rossini.—Professor Praeger, of Hamm, being asked to define the difference between the muBic of Wagner and the music of Rossini, replied:—''The music of Wagner will always be the Music of the Future; the music of Rossini always the Music of the Present."

A Punch For Wagner.—Our hook-nosed, short-legged, potpaunched, facetious, and highly-respected, not to say much-feared cotemporary, Punch, defines the "Music of the Future" thus briefly:-—" Promissory Notes."


Cheltenham.—The conversion of the Friends' Meeting House Into a music hall was tested on the evening of Thursday, the 12th instant; a concert, on rather an extensive scale, was given and well attended. The programme was under the management of Mr. Jabez Jones. The concert went off well, although the proceeds will do little towards the outlay in converting the building into a public room. The principal vocal performers were Miss Henderson, Messrs. Thomas, Jones, Horniblow; the instrumentalists, Miss Brydges, harp; Miss F. L. Lucy, pianoforte, Mr. Prior, flute, Mr. D'Egville, violin, and Mr. Hopkins, violoncello. The Music Hall, now completed, is a capacious lofty room, capable of holding about 400 persons.

Worcester.—The weekly concert was given as usual by the members of the Madrigal Union at the Natural History Boom, on Monday evening. Mr. Jabez Jones presided at the pianoforte. The attendance was tolerably numerous. Mrs. Evans, Messrs. Mason, Brookes, Cooper, and Berkeley were the singers. The concert passed off satisfactorily, and there were many encores.

Hereford.—The final concert of the series given by the Lay Vicars of our cathedral came off on Monday evening. There was a crowded attendance. Messrs. Barnby, Ward, and Taylor were the singers; Mr. Ribbon played a solo on the violin. There was a full orchestra; Mr. Townshend Smith was the accompanist at the piano.

Dublin.—The University Choral Society gave a concert on Friday evening, 13th inst. Spohr's Last Judgment formed Part I. Part II. included Handel's anthem, "My heart is inditing," Mozart's motet in C, Mendelssohn's three songs with chorus (Desi geittliche Lieder)—" Why, O Lord ?" " On thy love," "Lord, my heart's devotion "—Palestrina's motet, "I will give thanks," an offertorio for bass solo and distant chorus, composed originally for Bartleman by Dr. Chard of Winchester, Mendelssohn's duet, "The Sabbath morn," and the following songs: "Lord, in mercy deign to hear me," Mendelssohn, "Lord, remember David," Handel, and an adaptation to sacred words of Meyerbeer's scena of "The Monk," entitled " Saul and David," from the pen of Dr. Waller. The chorus and orchestra were up to the mark. The solo artists were, soprani, Miss J. Cruise and Miss Balfe; alto, Mr. Dunne ; tenor, Mr. Geary; bass, Mr. Joseph Robinson. Dr. Stewart conducted. The concert gave great satisfaction to an audience numbering about a thousand persons, including the (lite of Dublin.

Shrewsbury.The Society For Promoting Religious And Useful Knowledge gave on Monday evening, the 19th inst. a vocal and instrumental concert, conducted by Mr. C. Roden.

Leicester.—The performance of the Messiah at the Temperance Hall, on Wednesday evening, drew together a crowded audience. There were no fewer than 800 sixpenny admissions. The gallery for the rich, however, was by no means so well filled as might have been expected, considering the reasonableness of the prices, and the fact that this great work had not been performed before during the season. The principal vocalists were Miss Birch, Miss Lascelles, Mr. Pierre, and Mr. Bodda, The chorus was efficient in number and strength; whilst the band, though small, was powerful. The performance was organised by Messrs. Nicholson and Smith.

Leicester.{From our own Correspondent.)—Mr. Nicholson's winter series of concerts terminated with The Messiah, on Wednesday evening, and was attended by an audience of nearly 1,200, the greater part of whom were operatives of the town and neighbourhood, who were admitted at sixpence each. The principal vocalists were Miss Birch, Miss Lascelles, Mr. A. Pierre, and Mr. F. Bodda. A band and chorus of 160 performers also assisted Mr. Nicholson on the occasion. The oratorio was well performed and gave great satisfaction. An opera company, including Miss Julia Harland, Miss F. Reeves, Messrs. Corri, Elliot Galer, O. Summers, etc., open here on Monday the 30th.

M. Fetib has commenced at Paris a series of historic concerts, whereof our Brussels correspondent sent us an account on their production in that capital. The first concert was given last Saturday, and was, as it deserved to be, very fully attended.


Leifsic.—Mdllc. Agnea Bury has re-appeared iu several parta, and fully confirmed the impression she made lust year. Herr Bazzini, the violinist, is atill here.

Stbasbuboh.—Meyerbeer's Etoile du Nord has been given eight times.—A conservatory of music has been fouuded by the Municipality.

Pestu.—Mdlle. Wiihelmina Clauss gave her second concert on the evening of the 28th ult., and was rapturously applauded in all the pieces she performed, more especially in Liszt's arrangement of the "Erlkonig," and Mendelssohn's Lied ohne Worle, in E flat. The anniversary of Beethoven's death was celebrated by a Philharmonic concert given by the band of the National Theater, assisted by dilettanti, in the state room of the Nationalmuseum. The programme included the overture to Coriolanut, aud the "Sinfonia Eroica."

Mayencb.—Mdlle. Anna Zerr has been farourably received at Isabella in Robert le Diable.

Dantsic.—Herr von Bttlow, the pianist, has been giving concerts here with success. On Good Friday, Herr Tichatscheck, the tenor, sang in Beethoven's Christus am Oelberge, and soon after appeared at the theatre in Wagner's Tannhduser,

Itanovek.—Herr Joseph Joachim has been granted a longer leave of absence by the king—some say as much as two years and a half, during which period ho will be allowed to receive his salary, on condition of remaining in Hanover a short time in the concert season. Dr. Spohr has been enthusiastically received. Two or three days previous to his public appearance he waa the object of all kinds of attentions, including serenades by the members of the various " Vereiue," and a dinner given him by the Royal Orchestra. On the 31st, the grand concert for" charities, which Dr. Spohr had come expressly from Cassel to conduct, took place in the theatre, which was crammed. The first part consisted of selections from Dr. Spohr's works. The veteran composer was greeted with thunders of applause. The overture to Jetsonda, a duet from the same, and the symphony for two orchestras, Irdisches und Oottliches im Menschenleben were performed. At the end of the symphony there was an unanimous call for Dr. Spohr, with which he waa unable to comply, as he had been summoned into the royal box. In the second part of the concert Weber's overture to Euryanthe, Beethoven's violin concerto, splendidly played by Joseph Joachim, and some fragments from Lohengrin were included. The members of the orchestra have presented Dr. Spohr with a bdton, ornamented with a golden crown and jewels.

Fbankfort-on-the-maine. — Cherubini's Medea has been performed for a bene fit. Oluck's Iphiginia in Aulis is in rehearsal. The theatre will close in May. Herr Ander, the tenor, is expected for a limited number of representations.

Gotiu.— Mdlle. Bockholtz Falconi has been singing in Le Proptele. Herr Capellmeitter Drouet has received from the Emperor Napoleon III. a gold snuff-box, with the Imperial cipher in brilliants. Herr Drouet, who has resided at Gotha for the last sixteen years, is personally known to the Emperor. Before entering the service of Napoleon I., in 1811, he held a post at the Court of the King of Holland, from 1806 to 1810, and was appointed musical instructor of the prince who now fills the throne of France.

Naples.—On Sunday, the 8th of April, the Theatre Royal del Fondo opened with the Figlia del Eeggimento, the principal parts being taken by Madame Beltramelli and Signor Montanari; the opera was iollowed by a ballet, in which Mad. Boschetti appeared, and was highly successful. The Theatre Nvovo has also put forth its programme, which promises several new operas. Among the engagements are Mad. Cappelli and Signori Villuni and Rossi.

Venice.Poliuto has been played at the Fenice with great success, Mad. Barbieri-Nino, and Signori Negrini and Corsi taking the principal parts.

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