OUR Parisian contemporary, L'Europe Artiste, should be careful in its translations from other journals - more especially of passages in which opinions are recorded. For example, a strange hash is made of some remarks of our own, which occur in a notice of Il Conte Ory (ante-April 21). What we said was as follows: "Il 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, Il Turco in Italia, and Il Barbiere;' and, if a comic opera, the worst that ever was written' (!!). No reasons or arguments, of course, are adduced for this opinion; they would be difficult to invent. We suppose, then, Le Nozze di Figaro is not a 'comic opera,' because it contains some pieces which are not 'light, airy, and flexible;' nor L'Etoile 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. Il 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 Il Barbiere." "Les journaux de Londres varient beaucoup dans leur appréciation du Comte Ory. Suivant L'Examiner, cet ouvrage ne serait rien de plus qu'un joli opéra comique. Le Musical World ne serait pas de cet avis, et tout en rendant justice aux beautés de L'Etoile du Nord, il fait remarquer qu'il n'y a aucune comparaison a établir entre le chef-d'œuvre de Meyerbeer et celui de Rossini, et il place Le Comte Ory au rang spécial qui lui appartient, à coté du Barbier et des meilleurs compositions sorties de la plume spirituelle et mélodieuse du maître de Pezzaro." ["The London journals differ much in their appreciation of the Comte Ory. According to The Examiner, this work is nothing more than a pretty comic opera. The Musical World is not of that opinion, but, while rendering justice to the beauties of the Etoile du Nord, calls observation to the fact that there is no comparison to establish between the chef-d'œuvre of Meyerbeer and that of Rossini, and places the Comte Ory in the special rank which belongs to it by the side of the Barbiere, and the best compositions proceeding from the spirituel and melodious pen of the maestro of Pesaro."] Now this is too free even for paraphrase. There is no question whatever as to the merits of L'Etoile du Nord in our remarks; we merely insinuate that, according to the view adopted by our London contemporaries, the same objections taken to Il Conte Ory, as a comic opera, might in some measure apply to Le Nozze di Figaro and L'Etoile du Nord. The opinion of The Spectator, against which our protest was chiefly directed, is unnoticed by L'Europe Artiste; so that the gist of the argument is overlooked. NINE months ago we protested against the unfair treatment which foreign authors and composers received from the House of Lords. We have since had occasion to point out the difficulties that beset British authors and publishers in securing rights they are supposed to possess; and we now again feel compelled to take the field on their behalf, because the very existence of their rights is threatened in more quarters than one. It will be remembered that, in order to annihilate the claims of foreigners to a copyright in England, Lord St. Leonards thought himself obliged to prove that copyright, or the exclusive right of multiplication of copies, could not naturally exist, but must be the creation of law. This view has found favour with many reasoners, and it has become the fashion to class the copyright law with the corn laws and navigation laws, as an unfair tax on society for the benefit of a few. The Economist, in an article on newspaper copyright, predicts that the legislature will have to go backward, instead of forward, in its career of copyright legislation. Now, we fully admit that, when a man publishes an idea, no matter whether it be a tune, a poem, or anything else that springs from the brain-the right of multiplying it belongs, by nature, to the world at large. But, at the same time, on the grounds of expediency and justice, we maintain the policy of granting to inventors an exclusive property in their discoveries to be sound. We deny that there is any resemblance in the positions of those to whom the copyright laws, the corn laws, and the navigation laws respectively apply. The British farmer and the British seaman were protected in a monopoly by a tax on society, which was unjust, inasmuch as it placed them on a better footing than other traders, at other traders' expense. The man of intellect, on the contrary, is protected in his invention, not for his own advantage but for the benefit of the community. As an institution offers a prize for an essay, so society holds out encouragement to inventors to follow the bent of their genius, in order that society may be The law of enlightened and improved by their discoveries. copyright is, therefore, no more a boon to one class than to another. Men cannot follow a profession without being fed and clothed. Physicians and barristers are well paid for their services, and why not authors and composers, whose works may instruct and entertain generation after generation? How preposterous, that singers should receive enormous sums, and composers-the creators, without whom there would be no singers-be left to mere chance for remune ration! It may be an easy, perhaps an agreeable, task for logicians to demolish rights in this manner, but we trust it will be long before any attention is bestowed upon their sophistries. The results of laws-not the abstract principles on which they are founded-must be considered. If a composer or an author is not the proprietor of his own work, we should be glad to know to whom it belongs. The Economist would argue that the composer of a song has no more right to his invention than other any who is fortunate enough to person get a printed copy of it. He is only the medium of conimunication between Heaven, by whom he is inspired, and his fellows, for whose happiness he is gifted. As the clouds bring us rain, so the composer brings us melody; and as we cannot compel the elements to send down water, we cannot compel the man to pour out his soul in song. But if the inspired musician, his brain teeming with ideas, involuntarily communicates them to others, they are, we agree, at the disposal of any who may care to collect them. If we allow a man the exclusive right over every idea to which he may give expression, where is it to end? Brown may improvise a bon mot in the company of Jones and Robinson, and Jones and Robinson repeat it at the club; but that would not give Brown the right to summon them before Brown a magistrate, for pirating his wit! By no means. should keep his bons mots to himself, if he intends to publish them in a book for sale. Instead of repealing, we hope to see the legislature make the laws of copyright more stringent and easier of application than at present. Only a few days since, Mr. Lover had to spend all the profits he had derived from the sale of one of his most popular songs, in deterring a piratical publisher from appropriating it to his own uses. Here the law was vigorously maintained-but only for the benefit of the lawyers. | Yet, for the life of us, we cannot trace the connection between ་ "However, the selection from Lohengrin did not make the fiasco expected, which was to bring a 'native' into Signor Costa's place; on the contrary, the astonishment of the connoisseurs at not finding only bombastic, noisy, and unmeaning music, but the most original and poetical conceptions, scored with exquisite and novel effect, was something curious to witness. The 'Introduction,' the 'Bridal Chorus,' and the Wedding March,' which were given, created a marked sensation and a general desire to hear more of such works from the so-called New-school. The reading of the old Frieschütz overture was so startling, effective, and new, that it was boisterously encored. The second part of the concert consisted of Beethoven's Ninth Symphony, which, to our mind, has rarely had justice done to it before. Wagner conducted without score, as he does all the great works, knowing them all by heart. The vocal part was badly sustained by Mr. and Mrs. Lockey and Mr. and Mrs. Weiss, and required more than these vocalists had bestowed upon it. Blagrove's rendering of Mendelssohn's violin concerto was icy cold." OUR musical contemporaries in America have taken Richard Wagner by the hand with an enthusiasm equal to that which the political Yankees exhibit towards the Czar of all the Russias. Regardless of public opinion, expressed through the medium of the press in this country, they persist in informing their readers that Herr Wagner's career, up to this moment, has been one of uninterrupted triumph. A New York print refers to certain articles in the Daily News and Illustrated London News, as proofs of " the remarkable change that is going on in the opinions of the London critics" about Herr Wagner. To these papers he might have added the Spectator and John Bull. The musical articles in all four are contributed by one pen; and that pen, though the goose-quill of a highly respectable gentleman and excellent connoisseur, is hardly more the pen of a free agent than the two-handed sword of the Scottish guards, who served in the armies of the French kings, could be considered a free weapon. The wisdom of the Philharmonic Directors, like the majesty of the Kings of France, must be maintained inviolate. The other London papers are treated with contempt, because their reporters do not write in the same strain about the representative of the "Future." The "special correspondence," too, of our New York contemporary is curious, since it is made up of what Mr. Anderson's solicitors would call "a tissue of misrepresentations," or what, in plainer language, may be termed a string of unblushing falsehoods. The ebullition of excitement and enthusiasm created by the little man with "the large intellectual forehead," at the first Philharmonic Concert, is a pure fiction of the writer. There was no enthusiasm whatever; and no one said anything about Herr Wagner's forehead except "The plan of the Society to give works by natives is highly comProfessor Drei-Sterner Plauderein Praeger of Hamm, who is mendable; but the choice of a selection from Mr. Charles Horsley's remarkably busy about the new conductor and his affairs. Comus was scarcely endurable. Mr. Horsley conducted his own work in a kind of frantic, bombastic manner; and a more common-place stringIn the last number of the Yankee sheet appears anothering together of well-known bits of tunes, a more unartistic and vulgar bombastic letter with the signature of ** ("Drei-Sterner "), scoring could not well be imagined. If there are no better specimens in which Herr Wagner is again extolled to the skies, and all of the Young-England school, we should advise them to do anything the rest of the world abused at his expense. From this we else than complain of neglect. But we know of those who can do better things, and hope to see them have a chance, which in this case shall make some quotations. To begin :was not wisely bestowed." "On Monday last, Richard Wagner made his second appearance in the orchestra of the Old Philharmonic. By the express desire of the directors (at all events, some of them) a selection from Lohengrin was given. The uninitiated may infer that this was to shew their enthusiasm for their conductor; but I assert boldly, that it was done with the view of securing a fiasco for Wagner." This is odd, to say the least of it. The Philharmonic Directors have gone to considerable pains and expense to bring a conductor all the way from Zurich, and their object, in bringing his works before the public, is to "secure him a fiasco!" They might have got a "fiasco," easy enough, had they applied to the Hamm professor, who has composed a good deal, and would, doubtless, not mind conducting some of his music (is that, too, of the "Future?") at the Philharmonic. But the context is still more inexplicable : 'Nothing is more generally known than the decided detestation in which Wagner is held by the musical critic of the - the reason of which we have given before, If we add to that the influence from Paris in the same direction; if we name Brandus and Meyerbeer, we think we have said enough to show the knowing which way la pirouette turns. To him who does not know, we advise a few years' stay at the capital of esprit and intrigue, and the earnest perusal of Macchiavelli's works; then he will understand us." We have been to Paris, and have read Macchiavelli-not in Paris, but at home, since we saw no reason why we should cross the Channel to peruse the Italian political philosopher's model of a Prince, being in possession of a copy of our own. Moreover, Mr. Ella himself insinuates that we have a "certain shrewdness," while he menaces us with Schlegel's hammer. Our English composers seem to be in no greater favour with the Hamm Professor than our English singers and players. In a notice of the New Philharmonic Society, be speaks thus cuttingly of Mr. Charles Horsley and his Comus: 'only wished him one of Erard's pianos, as the one he played on a Broadwood, lacked nothing so much as tone." Moreover, the Queen's Private Band comes in for a rap:— "No doubt, when one names the orchestra of Queen Victoria at her palace, you, gentle reader, might imagine something like a good, and even choice band. But alas! excepting three or four good performers, there is no street-band that does not furnish better musicians. Their performances (after dinner) are truly ridiculous. The salaries of these royal musicians form, just now, the theme of anxious inquiry, as it seems that they are anything but royal, and public doubts are expressed of her Majesty's knowing where the money allowed for the orchestra goes to." So the Hamm Professor dines at the Royal table-eh ? He don't like Ernst, which is of very little consequence to Ernst, and hates the Musical World "N.B.-The Musical World copies freely from your paper, without, however, mentioning the source-' which is of very little consequence to the Musical World. tain for Herr Wagner, and to which "Drei-Sterner" refers, The reasons for the ill-will which we are supposed to enterwill be found in what follows: "To see Wagner and Berlioz, the two most ultra red republicans in musical world of this classical, staid, sober, proper, exclusive, conservamusic existing, occupying the two most prominent positions in the tive London, is an unmitigatedly stunning fact. We are now ready for Some of our real old | inclined to smile at the outcry of our injured contemporary, who has scarcely ever an article worth reading of his own concoction. anything, and nothing can astonish us more. cast iron conservatives will never recover from this shock-among others, the editor of the London Musical World. This estimable gen: tleman is in a truly deplorable state, whereby his friends are caused much concern. The engagement of Wagner seems to have affected his brain, and from the most amiable of men and truthful of critics, he has changed to the-well; see his journal. He lavishes abuse, in language no less violent than vehement, upon Wagner and all who will not condemn "poor Richard" without hearing him. Wagner once wrote an article, Das Judenthum in der Musik ('Judaism in Music'), in which he conclusively proves that a Jew is not a Christian, and neither looks, nor feels, nor talks, nor moves like one, and, consequently, does not compose like a Christian either. And in that same article, which is written with exceeding cleverness, Wagner makes a severe onslaught upon Mendelssohn and Meyerbeer on Judaistic grounds. The editor of the London Musical World, considering himself one of Mendelssohn's heirs, and Mendelssohn having (so it is said) hated Wagner, ergo, must the euraged editor also hate him. He certainly seems to do so, con molto gusto." To which indecorous and miserable balderdash we shall not deign to answer one syllable. But it is not only the "Special Correspondent" of the New York Paper that abuses us. The Editor taxes us with being all kinds of shocking things. His most recent "editorial" sets out with the following: "The London Musical World is an able and honest sheet truly; fearless, too, especially in its appropriations of the labours of others. It has given our original articles as its own repeatedly, and has done so many remarkable things, that we had thought nothing in the way of unfairness and dishonesty in its columns could again surprise us. But we were mistaken; we had not begun to conceive to what a depth of meanness the editor could descend. The coolness of an article, in its issue of March 24, would gratify a wooden-nutmeg manufacturer, or thimble-rigger, even. It prefaces an article upon Wagner as follows: 'From sources in our possession, and from personal experience,' [fancy the editor of the Musical World having any personal experience other than pecuniary, and that disastrous to his victim, with any one!]we have gathered a few facts, which, for general convenience, we shall throw into a form half-narrative, half-critical.' After this modest exordium, what follows, think you, reader? Simply a garbled, mutilated, and distorted copy of the article in the MUSICAL GAZETTE of March 3, on RICHARD WAGNER, in which every merited compliment to the man is omitted, and a sneer or abusive epithet put in its place. And this is the only musical weekly that John Bull can sustain in his capital!" Without being able to decipher what this slanderous writer may mean by "pecuniary personal experience," we may pass by his venomous insinuations with contempt; confident in the good opinion of our subscribers and the public generally, and that, while many may differ from us in opinion, there is not an artist, native or foreign, who can tax us with ever on any occasion having discredited the position we have the honour to maintain. Such foul aspersions are unworthy a public journalist. Happily, nevertheless, the English press is so represented that not one living being can honestly cast a stone at any one of its representatives. They may be wrong, even incompetent; but they are upright and honest We despise the tu quoque system of discussion; and did we not, we should scorn to retaliate. The article on Wagner, alluded to above, was, historically, an abridgement of one which appeared in the columns of our abusive contemporary, who had himself remodelled it from one much longer, and much better, in Dwight's Journal of Music, the best art-paper in America. These were "the sources in our possession.' The opinions were our own quite opposed to those of the New World, which knows little or nothing of Wagner; and these were derived from "personal experience." When we inform our readers, that the editors of transatlantic music-" sheets," (even friend Dwight), have been for years in the habit of borrowing from us wholesale, with or without acknowledgement, they will be to a man. If Herr Richard Wagner can find no better defenders, we can only say, Heaven protect him from his disciples and his friends! GIULIA GRISI.-We are informed, on the best authority, that this celebrated artist will once more delight her English admirers, on the boards of the Royal Italian Opera, having consented to appear in six (perhaps twelve) representations in the middle of the season. MADAME ANNA THILLON has been engaged by Mr. Allcroft Theatre, commencing on Monday next with the Crown Diamonds. to appear in a series of farewell performances, at the Lyceum The tenor is Mr. Miranda, Mr. Howard Glover's pupil. PRINCESS'S THEATRE.-It is with no small pleasure we have to announce the return to the stage of Mrs. Charles Kean, who, after a long and severe indisposition, makes her first appearance on Wednesday as Queen Katharine in Henry the Eighth. Shakspere's historical play is, we understand, to be brought out with great splendour. Mr. Charles Kean will, of course, play Cardinal Wolsey. FOREIGN MUSIC.-We are informed that Messrs. Booseywho, our readers will remember, were the original importers of German music in England-are about to dispose of their extensive stock of foreign music at a greatly reduced rate of charges, with a view of gaining more room for their publishing business. This announcement deserves the attention of the numerous amateurs of instrumental music, as we understand that a great quantity of the choicest German publications will be offered for sale at the most tempting prices. A catalogue is said to be in readiness. VISIT OF HER MAJESTY AND PRINCE ALBERT TO THE ROYAL POLYTECHNIC INSTITUTION.-On Thursday evening, Her Majesty and Prince Albert paid a visit to the Polytechnic, and remained nearly two hours inspecting all the curiosities, and hearing a lecture read by Professor Wheatstone on the transmission of musical sounds. A series of rare and curious ancient keyedstringed instruments were performed on and explained by Mr. Charles Salaman. The following is a list of the instruments exhibited in presence of Her Majesty:-A virginal, made for Her Majesty Queen Elizabeth (1600.) A virginal, by John Loosemoore (1655.) A single harpsichord, by Johannes Rükers, Rükers, of Antwerp (1651.) A spinett (1713.) A spinett (1724.) of Antwerp (1640.) Handel's own double harpsichord, by A double harpsichord, by Kirkman (1798.) Mr. Salaman performed, on John Loosemoore's virginal, "The Carman's Whistle," by Byrde; on Handel's harpsichord, "The Harmonious Blacksmith;" and on Kirkman's double harpsichord, Philip Emanuel Bach's Presto in C. GENERAL DRAMATIC AGENCY AND SICK FUND ASSOCIATION. -A second meeting of members of the different metropolitan theatres was held on the 29th ult., in the saloon of the Royal City of London Theatre, for the purpose of establishing a "General Dramatic Agency and Sick Fund. The saloon was full: and several resolutions were proposed and agreed to. Many non-professional persons, ladies and gentlemen, were present, who joined the society, and tendered their subscriptions. Mr. J. W. Anson announced, that four metropolitan managers had already guaranteed their agency business to the society, and that they proposed commencing the first week in August. THE BALLET OF "Eva.”—The Messager des Théâtres et des Arts, in its last number, rectifies an error which appeared in its columns of the previous week. "In our impression of Wednesday," says that journal, an important error crept into_our notice of the ballet of Eva, represented at Covent Garden Theatre, London. We therein wrongly attributed to M. Desplaces the invention of the subject and the mise-en-scène, of which Mr. maître-de-ballet, has merely composed the choregraphic part." Harris, the regisseur-general, is the author. M. Desplaces, as We are glad to be able, in the words of the Messager itself, to render justice to Mr. Harris. ADVERTISEMENTS. THE AMATEUR PERFORMANCE of the Members of the Fielding Club was repeated last night, at Drury Lane Theatre, in presence of the Queen. £3,000 was taken for tickets. GARDONI'S CONTE ORY.-In our notice of the first performance of Il Conte Ory at the Royal Italian Opera, we stated that M Professor of Music and Singing. 44, Alfred-street, River-terrace, Islington, Signor Gardoni had played the Count in Paris. This was incorrect, he having appeared in the part for the first time at year. ISS BLANCHE CAPILL-(Voice, Contralto,) where letters respecting pupils or engagements may be addressed. E. (Soprano), begs to inform ovent Garden, this yea SIR H. R. BISHOP.-On Saturday after- MISSE STEELE, Vocalist (Sopra 3, Royal Oak-terrace, West The bourne-grove. ADLLE. EMILIE KRALL, from Vienna, will sing, FARREN'S Matinée in Queen Anne-street. MR. R. AND MADAME R. SIDNEY PRATTEN, Professors of the Flute, Guitar, and Concertina. 131B, Oxford-street. Where their Concertina Classes are held, and where all their compositions may be had at the above instruments. SIG IGNOR GIULIO REGONDI has removed to 24, Upper THE HE YOUNG PORTUGUESE PIANIST, ARTHUR NAPOLEON (aged 11 years), honorary member of the Philharmonic Societies of Oporto, Lisbon, Belfast, and the Männergesangverein of Cologne, has the honour to announce to his patrous and the public his return from the Continent. Engagements for Concerts and Private Parties to be addressed to 30, Oxfordterrace, Hyde-park. noon the remains of the late eminent English musical composer, Sir H. R. Bishop, were removed from his residence, 13, Cambridge-street, Edgware-road, for interment in the new and beautiful cemetery of St. Marylebone, at Finchley. The funeral cortége was exceedingly simple in its character, consisting of a hearse and one mourning coach. The appointments of the hearse were singularly neat and appropriate, displaying, on either side, the initials of the deceased in an oval shield, with plumes of feathers, and drawn by four horses. A number of musical gentlemen, intimate friends and acquaintances of the deceased, had assembled at the entrance to the chapel, and a full choir, under the superintendance of Mr. Ransford and his son, assisted at the mournful ceremony. music selected for the occasion was Croft's Burial Service. The vocalists were appropriately dressed in surplices, and, as the procession passed from the chapel along the walks of the cemetery to the last resting-place of the departed, a vast number of persons assembled. The coffin bore the simple inscription "Sir Hy. R. Bishop, Knight, died 30th April, 1855, aged 68 years." The funeral was conducted by Mr. W. Garstin, of Welbeck-street. HEREFORD MUSICAL FESTIVAL.-(Extract from a private letter.) Our festival is fixed for August 21st, and three following days. As we shall have the advantage of three lines of railway-one to Gloucester; another to South Wales, vid Newport; the third to Shrewsbury and Liverpool; we shall have a larger bandO ORGANISTS.-The post of Organist at the ROYAL than on any former occasion, and the best singers available will be engaged altogether, it is anticipated that the Hereford requested to send their testimonial-, etc., to the Director at the Institution, on or Musical Festival for 1855, will be unprecedentedly successful. MEHEMET ALI PASHA's daughter was so pleased with the strains of the band of the 10th Hussars, who played in the streets of Cairo, that she sent £60 to be distributed amongst them, and a shawl for the bandmaster. Miss ARABELLA GODDARD AT VIENNA.-"A pianist who travels simply for the sake of her art, who has already gained for her talent a great reputation; and whose personal appearance is highly prepossessing, but who, in spite of all this, does not give a public concert-that is to say, a concert at two florins pit and three florins Cercle-who will not take part in the general system of "humming" and "drumming," may indeed be re RS. JOHN MACFARREN begs to announce that her TWO ANNUAL_MATINEES of PIANOFORTE MUSIC will take place at the New Beethoven Rooms, 27, Queen Anne-street, on Saturday next, May at five. Pianoforte, Mr. W. Sterndale Bennett, Mrs. John Macfarren; Violin, Herr Erust, M. Sainton (solo violinist to Her Majesty.) Violoncello, Signor Rowland, Miss Stabbach, Miss Huddart, Mr. Herberte, and Mr. Weiss. Vocalists, Mad. Weiss, Mdlle. Emilie Krall (from Vienna), Miss Fanny The Vocal Music accompanied by Mr. Walter Macfarreu. Erard's pianofortes will be used. Single tickets, 78. each; subscription for two, to both Matinées, £1 18. To be obtained at Ebers's Library, 27, Old Bond-street, and of Mrs. John Macfarren, 40, Stanhope-street, Gloucester-gate, Regent's-park. 19th, and on Saturday, June 16th. To commence at three o'clock, and terminate garded at the present day as a rare example of modesty and M ANNUAL GRAND CONCERT will take me, St. SLOPER'S self-denial. A certain number of amateurs and connoisseurs enjoyed, it is true, an opportunity of appreciating Miss Goddard's remarkable genius, but they succeeded in doing so, not through the artist herself, but through the mediation of Herr Streicher, in compliance with whose artistic enthusiasm the British virtuosa consented to perform a few pieces in Streicher's saloon. England produces but few pianoforte players, either male or female ;* the Contineut furnishes her with them, without her having the trouble of enlisting this foreign legion herself; but when she does produce a pianoforte-player, it is one not to be classed among those we meet every day-but whose endeavours, like Miss Goddard's, are founded on a thorough artistic education, all they do being stamped with correctness and good taste. Miss Goddard, with Herren Helmesberger and Schlesinger, played To Wednesday evening, June 13th, to commence at eight o'clock, when they will be MR. COOPER'S SECOND SOIRÉE will take place at 27, Queen Anne-street. Cavendish-square. To begin at 8. Vocalists:Miss Milner and Miss Dolby. Piano:-Mr. Charles Salaman. The Quartet will consist of MM. Cooper, Kreutzer, Webb, and Hausmann. Tickets, 7s each, may be had at the Music-shops, and of Mr. Cooper, 44, Upper Charlotte-street, Fitzroy square. M TISS STABBACH has the honour to announce that her Annual Concert will take place at the Hanover-square Rooms, on Friday evening, May 25th. To c mmence at eight o'clock. Vocalis:s: Mad. Fiorentini, Miss F Huddart, and Miss Stabbach, Signor Salvi, Mr. Frank Bodda, and Signor Mendelssohn's trio in D minor, and then performed, alone, various * Too good to be true!-ED. M. W. THE LONDON ORCHESTRA. Conductor, Mr. FRANK MORI; Leader, Mr. THIRLWALL. Including Messrs. Barret, Lazarus, Baumann, Clinton, Lovell Phillips, Prospère, Mount, Mann, Cioffi, Zeiss, Tolbecque, Nadaud, Chipp, &c. For terms apply to Mr. A. Guest, 1, Kingston Russell-place, Oakley-square, Camden-town, or Messrs. Cramer, Beale, and Co., 201, Regent-street. SIGNOR and MADAME FERRARI beg to announce that their Annual Concert will take place, at the Hanover-square Rooms, on Wednesday evening, May 16th. To commence at eight o'clock. Vocalists: Miss Dolby, Madame Ferrari, Mr. Augustus Braham, and Signor Ferrari. Misses Augusta Thomson, Bancks, Hauck, and Favelli (pupils of Signor and Madame Ferrari). Instrumentalists-Mr. W. Sterndale Bennett, Mr. Aguilar, Herr Jansa, Signor Piatti, and Signor Regondi. Accompanyist: Signor Pinsuti. Tickets 7s., to be had at the principal Music-sellers; reserved seats, 10s. 6d., to be had only at Signor and Madame Ferrari's residence, 69, Upper Norton-street, Portland-place. ENGLAND AND FRANCE.-The most popular Waltz, in which the favourite melodies of France, England, Ireland, and Scotland are introduced, is the STARS OF THE WEST, by G. Montagne, illustrated by Brandard in colours, with the portraits of two French and English Beauties. Second edition, price 4s. for pianoforte. Orchestral parts, 5s. Boosey and Sons, 28, Holles-street. FARDINO -- new - A ESERCIZIO, per Pianoforte. Exercise, with the assistance of a simple apparatus for preventing bad positions of the hands, and giving power to touch. By E. Edgar. Price ls., including the Guide. Boosey and Sons, 28, Holles-street. THE BIRTHDAY POLKA, performed at the Crystal Palace by Schallehn's Band. Composed by Gung'l. Price 2s. Band parts, 5s. Boosey and Sons, 28, Holles-street. PARTANT POUR LA SYRIE. Arranged for the Pianoforte by MADAME OURY. This is allowed, by all musicians, to be the best arrangement of this popular melody extant. Price 38. Boosey and Sons, 28, Holles-street. EW PHILHARMONIC SOCIETY, Exeter Hall. SONNAMBULA.-The Standard Lyric Drama edition NEW On Wednesday, May 23, the performance will take place under the immediate Patronage of his Royal Highness Prince Albert and his Royal Highness the Duke of Cambridge, in aid of the Funds of the Lock Asylum, Harrow-road. Programme-Overtures from the Works of Mendelssohn and Weber; Arias, with full band accompaniments, from Mozart, Spohr, and Donizetti; Symphony in B flat, Beethoven; the unfinished Opera of " Lorely," Mendelssohn; Pianoforte, A. Billet. Vocalists-Madame Clara Novello and Signor Bel etti. Chorus of 300 voices. Conductor-Dr. Wylde. Stalls in the centre of area £1 18.; reserved seats, 10s. 6d., for which early application is requested at Messrs. Cramer, Beale, and Co.; Messrs. Keith, Prowse, and Co.; and of the Secretary, at the Asylum. MUSICAL UNION.-H. R. H. PRINCE ALBERT, Patron. Tuesday, May 15th, Half-past Three, Willis's Rooms.-Quintet in A, Mendelssohn: Trio, E Minor, Pianoforte, etc., Spohr; Quartet No. 2, in G, Beethoven; Solo, Contra Basso; Solos, Pianoforte.-Executants: Molique, Cooper, Hill, Goffrie, Piatti, Bottesini, and Hallé. Visitor's Tickets to be had of Cramer and Co., Chappell and Ollivier, Bond-street.-Doors open at Three. Letters to be addressed toJ. ELLA, Director. PIANOFORTES.-J. Marsh & Co., Pianoforte Manu facturers, beg to inform their friends in the Trade they have given up their Ware-rooms, in New Bond-street, and taken the premises, 13, Store-street, Bedfordsquare, near the Manufactory, to enable them to give their undivided attention to the Manufacturing Department. Letters to be addressed 13, Store-street, Bedford-square. 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. R. S. PRATTEN'S PERFECTED FLUTE (on the old system of fingering.) This instrument is universally acknowledged to possess the most powerful tone, combined with perfect intonation, sweetness, and ease to the performer. Prospectus and testimonials on application to John Hudson, Manufacturer, 3, Rathbone-place. IME MPROVED SYSTEM OF PENMANSHIP, by MR. MARTER, at the Writing Institution, 93, Farringdou-street, Fleet-street, City.Persons of any age (however bad their writing) can, by taking Eight Lessons, speedily acquire an expeditious and well-formed style of Penmanship, adapted either to business, professional pursuits, or private correspondence, at 1s. 6d. per Lesson, or the Course of Eight Lessons for 10s. 6d. Arithmetic and Book-keeping practically taught in all its branches. Short-hand taught in a few lessons. Separate Rooms for Ladies. Prospectuses to be had at the Institution. PERSONAL REQUISITES. ROWELEGANTCASSAROLL is a delightfully ragrant and transparent propara In tion for the hair; and, as an invigorator and beautifier, beyond all precedent. dressing the hair nothing can equal its effect, rendering it so admirably soft that it will lie in any direction, and imparting a transcendent lustre. Price 38. 6d. 7s.; Family Bottles (equal to four small), 10s. 6d. ; and double that size, 218.ROWLANDS' KALYDOR, FOR THE SKIN AND COMPLEXION, is unequalled for its rare and inestimable qualities. The radiant bloom it imparts to the cheek; the softness and delicacy which it induces of the hands and arms; its capability of soothing irritations, and removing cutaneous defects, discolorations, and all unsightly appearances, render it indispensable to every toilet. Price 4s. 6d. and Ss. 6d. per bottle.-ROWLANDS' ODONTO, OR PEARL DENTIFRICE, prepared from Oriental Herbs with unusual care. This unique compound will be found of inestimable value in preserving and beautifying the teeth, strengthening the gums, and in giving sweetness and perfume to the breath. Price 2s. 9d. per box. Sold by A. ROWLAND and SONS, 20, Hatton-garden, London, and by Chemists and Perfumers. Beware of Spurious Imitations!!! of this popular Opera, with English and Italian words, is the most perfect of any that have appeared in Europe. Price 12s. 6d., in a handsome volume, Boosey and Sons, 28, Holles-street London. covers, gilt letters: Lucia di Lammermoor, 5s.; Les Huguenots, 7s. 6d.; La Sonnambula, 48.; Norma, 4s.; Fille du Régiment, 4s.; Fra Diavolo, 5s.; Don Juan, 63.; Lucrezia Borgia, 4s. The following operas in paper covers, are without the recitatives. Rigoletto, 4s.; Il Trovatore, 4s.; Ernani, 48; Nabuco, 48.; Lombardi, 4s.; Elisire, 4s.; Anna Bolena, 68.; &c., &c. HOUSES AND ESTATES.-Persons wishing to buy or rent, let, sell, or exchange estates, houses, leases, advowson, or goods, chattels, farming stock, or other personal property, are invited to order the "Illustrated Property Advertiser," a Monthly Stamped Newspaper, published by Mr. Alfred Cox, Land Agent, 68, New Bond-street, London, price 98. or twelve successive numbers for 8s. in advance. This periodical contains Advertisements of a vast number of Residences, Estates, Cottages, etc., in the market, as also particulars of property wanted by numerous applicants. The "Landlords and Tenants' Guide," a volume of 400 pages, with Geological Map and Gazetteer of Great Britain, also edited by Alfred Cox, price 78., or handsomely bound 108., obtainable likewise of Simpkin and Co., and all Booksellers. It treats upon arrangements of houses and grounds, agency, agriculture architecture. cost of building, climate, conveyancing, domestic economy, ecclesiastical property, fixtures, geography, geology, hire and purchase of houses and lands, landscape gardening, law of real property-landlord and tenant, and of agents, leases, rural economy, rates and taxes, statistics, surveys, tenures, topography, valuation, and ventilation. The "Agency Office," No. 68, New Bond-street, London, conducted by Mr. Alfred Cox, offers great and unusual advantages both to those seeking property and those desirous of disposing of it. Terms far lower than those warranted by custom of trade. Auctions are held and Surveys made in distant parts of the Country on terms less than the local agents. ANK OF DEPOSIT, No. 3, Pall Mall East, London. BA Established A.D. 1844. Parties desirous of INVESTING MONEY are requested to examine the Plan of this Institution, by which a high rate of interest may be obtained with perfect security. The interest is payable, in January and July, at the Head Office in London; and may also be received at the various branches, or through country bankers, without delay or expense. Peter Morrison, Managing Director. Prospectuses and Forms for opening accounts sent free on application. HOLLOWAY'S PILLS a sure remedy for Indigestion, Bile, and disordered 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 obtained more than temporary relief, relapsing again into the same unpleasantness. 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 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 Army Medical 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. 6., 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. |