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Haydn got me appointed to the service of the Bake of Wurtemberg; as, however, the Duke afterward altered his mind, and (for a reason with which few persons are acquainted) would not engage any new Kapellmeister from Vienna, Haydn, then becoming very old, recommended me to his own master, Prince Nicholas Esterhazy, as Concert-Meister, to supply his place in his declining years. I remained attached to this establishment, which consisted of nearly one hundred musicians, till its breaking up in 1811.
"From this time I lived privately at Vienna till 1815, when I once more appeared in public as a player. The year after, when the wars had disappeared, I was seized with an inclination to travel, and made a musical tour to Prague, Dresden, Leipsic, and Breslau, where I was received with such applause and distinction that I resolved to go to England, and stay there for a term of years; on returning to Vienna, however, I found lying for me the commission of Royal Kapellmeister to the King of Wurtemberg. I altered my plan, and accepted of the engagement, which seemed to open to me a fine field for exertion. However, before I had been installed four weeks in my new appointment, the King, who was a distinguished connoisseur, died, and, after remaining two years and a half, I resigned the place, and accepted that of Weimar instead, where I am still established as Kapellmeister, under the auspices of the accomplished Grand Duke, and of my distinguished pupil the Grand Duchess.
"Since 1816,1 have made many musical tours through Germany, Holland, Russia, and France, in all of which I have had the greatest success. I have had the honour to be appointed a member of the society Les enfant cTApollon in Paris, and also of another society in Geneva; a medal, with my bust, has likewise been struck in Paris. The number of my printed works, large and small, hitherto amounts to 110, and consists of pieces for the chamber, the concert-room, the church, and the theatre; besides these, I have a great number of imprinted vocal and church compositions, and also an extensive theoretical and practical school for the pianoforte, which I have just completed. You have here, my dear friend, all that I can inform you respecting my artist-life, and it will give me great pleasure to learn that it has answered your purpose.
"Faithfully yours, J. N. Hummel."
Panopticon.—There is a sect of philosophers who contend that Art and Science are natural enemies; that, as the one advances the other must retrogress, or, at least, that like oil and vinegar and other heterogeneous compounds, they will never amalgamate kindly. This is, in fact, telling us, that to understand a cause, is to lose all sense of the beauty of the effect. In spite of the philosophers, however, Art and Science are certainly becoming sworn brothers. Meantime, what would our ancestors in the days of the Inquisition have said could they have seen steel bars severed in a few seconds amidst a hissing shower of livid flame? holes bored in iron plates an inch thick, with as much ease and rapidity as you could puncture a piece of card with a pin? By what but " some devilish cantrip sleight," could bundles of nails and steel filings be made to assume life, and bristle up into form and consistence at the word of the operator. Among the scientific contributions at the Panopticon, the electrical experiments are the most interesting. The best sculptures are "The Veiled Peri," by Monti—a very vision and day-dream of beauty, and the "Deer-Stalker," by Stephens. The visitor should not omit a look at theCosmoramaof St. Petersburgh and Moscow. Of the organ and Mr. Best's performances, we spoke last week. The dioramic views have been changed by no means for the better. Those of the campaign of the Crimea have but little interest, excepting the view of Subastopol; and the sooner the "History of Aladdin" is abandoned, the better.
Royal Society Of Female Musicians.—Miss Leete, lately deceased, has bequeathed to the above institution the sum of two hundred pounds, free of legacy duty.
I'aqanini being once asked who lie cousidered the first violinist in the world, answered "I don't know who is the first; Iiipinsky is the so/oud."
The name of Filippo Galli is not unknown to the frequenters of the Opera. Rossini wrote some of his celebrated barytone parts for him—among others, Assur in Semeramide, and Maometto in Maometto Secondo—and, from 1807 to 1826, he was reckoned the most eminent florid barytone of his time. Filippo Galli was born in Rome, of a highly respectable family of the middle class. He learned music as a pastime ; but so decided was the bent of his mind, that his father, not without opposition on the part of his mother—who dreamed a brighter destiny for her son than that illumined by footlights—determined to place him on the stage. Accordingly, his education was confided to one of the most celebrated soprano singers of that cathedral-trained band who owe to the surgeon's knife the preservation of their voices. He appeared on the first stage of Italy. Tall, handsome, well-made, witty, agreeable, his success was immense, especially in Naples, in the San Carlo theatre, where he was the idol of the day and night.
For seven years—years of unvarying success—Fillippo Galli sang the parts of a grave tenor. What a voice! A fever seized on him. When he recovered he found that the fever had carried off his voice with it. Imagine his discouragement—his despair! After some time, however, he had a magnificent bass voice; and in 1813 he made his debut as a basso in Trieste, in a company where Ronconi's father, and Rosina Pinotti, Lablache's sister-inlaw, played. His success was so complete, that from that moment Rossini composed his best parts for him; and each part was a new triumph for composer and artist Rossini and Filippo Galli were ou a footing of most affectionate friendship. One was never seen without the other. On the promenades, at the theatres, cafns, in society—they shared the same table, and often shared the same bed. They had just arrived in Milan, more affectionate than ever, in consequence of their joint labour in La Gazza Ladra, then in all the glory of novelty, when on a sudden the strangest rumours were afloat in the vicinity of the Scala theatre. The composer and singer had quarelled. They had disagreed as to the manner in which an air in the opera should t>e sung. They had ceased to speak. Poor Italy had then, as now, nothing to talk about except art and artists; and as she threw into the narrow channel all the intense temperament of her character, this news excited a whirlwind of emotion. Before the curtain rose, the vast audience of La Scala, agitated by its curiosity, was tossed as by some storm-lashed ocean. Galli was received with the enthusiastic applause which always greeted him. When he sang the auditors became silent. Perhaps he was never more touching, never more impassioned in his acting, never sang the music of Ninetta's father better than on this night. When he ceased, the plaudits recommenced. He was recalled five or six times—they would not allow him to leave the stage. Then it was Rossini's turn for applause — in Italy the composer always directs the orchestra in person. There was a new excitement, and after the public had applauded, and Rossini bowed sufficiently, the audience cried to Rossini and Galli—" Embrace and be friends; make it up, make it up! Vive Galli! vive Rossini!" The two friends flew into each other's arms, weeping, amidst immense acclamations.
In 1821, Felippo Galli came to Paris. He first sang at the Grand-Opera, and with his usual success. In 1825, he joined the company at the Italian Opera, then composed of Mesdames Pasta, Malibran, Fodor, Sontag, Monbelli; Signors David, Zuchelli, Curioni, etc., etc. He remained at the Italiens but a short time, and returned to Italy, where for eight consecutive years he remained a star of the first magnitude at the Scala. Then he went to Rome, to Madrid, and, tempted by the large offers made him, to Mexico. On his return he sang in Barcelona, Madrid, and Milan, when he bade farewell to the footlights, and applause, and fortune.
During his whole artistic life, Filippo Galli had received an enormous income, varying from three thousand to eight or niue thousand pounds ; but such was his generosity, his extravagance, and his negligence, that he returned from Mexico even poorer than when he went there. His table and his purse were open to all. When Rossini brought him his engagement at Paris, he begged of him to be economical in future. Galli promised readily, and told Rossini he should see the fruits of his kind advice at the end of the season. After the season closed, the great maestro asked him if he had kept his promise. "Yes, indeed," replied he; "you know I got 20,000 francs in debt every year; this year I have only gone 8,000 francs in debt; so you see I have economised 12,000 francs clear."
The last years of Filippo Galli's life were sad enough. Poverty oppressed, disease racked, charity supported him; and after all these triumphs, all these crowns, all this applause, and all this fortune, he did not leave money enough behind him to pay the church and the grave-digger. His friends had forgotten him.
The crowd now applaud Nnpoleone Rossi.
"thtbd Set Ov Srx Melodies," for the Violin and Piano.
The first and second sets of "Melodies" for violin and pianoforte, which were published by llerr Molique some time ago, hare been so successful (and with such good reason) that the appearance of a third was confidently expected. In this description of song without words, as in his minor vocal compositions, M. Molique is eminently at home— a presumptive proof, among many others, that he who can do large tilings well is most likely to be happy in small. •
The "melodies" before us are in a great measure easier than the others; and the pianoforte accompaniments are much less elaborate— conditions that are likely to enhance their chance of an extended circulation. For freshness of thought and fluency of turn they yield nothing to their predecessors; while they are written for the principal instrument with that exquisite propriety which invariably distinguishes the contributions of M. Molique to the violin. It is indeed gratifying to have to speak of such music—of music so unaffectedly beautiful and so thoroughly conscientious, written with such care, and finished with such completeness—yet not with the nervous susceptibility of a barren invention, but with the lively attachment of a vigorous and healthy nature to the creations of its fancy. Every one of the six "melodies" has a marked character, and an accompaniment in good keeping— always ingenious, replete with fine harmony, and, at the same time, natural and flowing. No two of them bear any resemblance to each other. The first (in B minor) so touching and plaintive; the second (in A) graceful and sparkling; the third (in C) clear, open, and elegantly melodious; the fourth (in G minor), simple, though marked by an earnest and passionate feeling; the fifth (in B flat;, tenderly expressive; and the sixth (in F), playful, sportive, and capricious. Each has a type and colour, each is itself, and all are attractive and spontaneous. What more need be said to recommend them—if, indeed, the name of their gifted and respected author bo not a sufficient recommendation in itself?
"Keteisie."—La Priere des Anges.—Pour le Pianoforte.—Par Jules Egghard. Ewer and Co.
A not very remarkable melody, accompanied by a not very remarkable arpeggio. The samo thing has been written in the same manner somewhere near a thousand times. The eminent pianist, Sigisinund Thalberg, has much to answer for.
"Stabs o» Nioht." Canon for Soprano, Tenor and Bass, with Pianoforte Accompaniment. Composed by P. Lindpaintner. "thot/, My Heabt, Abt Not Fobsaien." Canon for Three Trebles, with Pianoforte. By Ferdinand Sieber. Ewer and Co.
*' Stars of Night" is a smoothly written round, in A flat, lying conveniently for the voices, and graceful, if not original. The coda—with the flat seventh, introducing the time-honoured transition to the subdominant—contains an effective passage for the voices alone. The accompaniment offers nothing remarkable.
"Thou, my heart," in E flat, is much the same sort of thing as the other; but the melody is more in the Mozartish vein, and therefore more distingue, though not a bit more original. The accompaniment is somewhat richer in harmony than that of M. Lindpaintner's. Here, again, the eternal flat-seventh of the subdominant (as if it waa impossible to end in another manner) introduces the coda, which is shorter and less effective than that of its companion round.
"Mr Dbiam." Walt* for the Pianoforte, with Cornet Ad Libitum. By George Lichtenstein. Ewer and Co.
It is some time since we have seen a mora elegant set of waltzes than the above. Tho introduction and the first three figures, especially, are really charming, tuneful and well-marked, while not at all common-place. Tho Strauss and Lanner form is preserved, with the coda at the end, in which all the themes are recapitulated. "My Dream" was one of the most admired pieces in the repertoire of M. Kalozdy's well-known Hungorian band. It does credit to M. Lichtenstein's musical talent, and to his entirely unvulgar feeling of dancemusic, which we wish somo of his contemporaries shared with him.
Plymouth.—(Abridged from a Correspondent, Jan. 12.)—A concert was given last evening at the theatre, on a very complete scale. The orchestra was principally composed of the members of the Orchestral Union, intermingled with drafts from tha London Philharmonic, and Royal Italian Opera. Mr. Alfred Mellon, the bond fide conductor of the Orchestral Union, was to have directed the instrumental force: but not being able to leave M. Jullien's band, in which ho holds so responsible a post, he at once chose Mr. Frank Mori as his substitute, and threw all rivalry overboard. Mr. Frank Mori is conductor of the London Orchestra, the avowed antagonist of the Orchestral Union; but Mr. Alfred Mellon considered nothing but chosing the most proper person to fill his place. The programme was divided into three parts. It opened with the overture to La Gazza Ladra, and concluded with "God Save the Queen," and "Partant pour la Syrie." The solo performers included Mr. H. C. Cooper (violin), Mr. Nicholson (oboe), Mr. T. Harper (trumpet), Mr. Henry Reed (pianoforte), Mr. Hausmann (violoncello), Mr. Prospere (ophicleide), and Mr. Maycock (clarinet). Miss Milner—a most promising singer with a charming voice—was the only vocalist.
Quartet Concerts—Crosby Hall.—The first of Mr. Dando's annual series of six, took place on Monday evening. The engagements were Miss Dolby and Mr. Lindsay Sloper. Haydn's quartet (No. 75) opened the concert. Mr. Sloper's fantasia, for voice and pianoforte, called "The Lady and the Nightingale," was performed by himself and Miss Dolby, with excellent effect. Beethoven's trio in D (No. 1, Op. 70), Mozart's quartet in B flat (No. 3), and Mendelssohn's in E minor, were the instrumental features.
The hour is nigh,
To bid good bye,
Lest Fate estrange,
Let us exchange
Tho' sunder'd wide,
Tho' seas divide,
Chase, chase those tears,
Dispel thy fears,
• These lines ore copyright.
COMPLAINT OF A PROFESSIONAL CHORUS SINGER. To the Editor of the Musical World.
SlB,—On New Tear's Day a grand performance of Beethoven's "Praise of Musio" and Mendelssohn's Walpurgis Night, took place at Windsor Castle, commanded by Her Majesty and H.R.H. Prince Albert. According to the notice of this which appeared in your valuable journal, as well as in the daily papers, the band and chorus numbered 140, the latter selected from the Sacred Harmonic Society and Philharmonic Society. The latter, it is well known, has no chorus attached to it. But, to proceed, sir, my object in calling your attention to this performance, is to stato a grievance j for I feel convinced you are as willing to do your utmost to remove and remedy that whioh is injurious to the large number of professors of music your journal represents, as The Times, or any other morning papers, to point out the grievances of the masses.
I am a chorus singer, and totally dependent upon the proceeds of this precarious occupation for the support of a wife and family, and at this dull Reason of the year believe me I find it no easy task to keep the wolf from the door i and yet, when a "grand performance," like the one alluded to, takes place, instead of its being made a boon to persons like myself, out of a chorus of seventy-Jive persons, not more than twelve or fifteen "professionals" are engaged. The others consist of members and friends of the Sacred Harmonio Society, who are invited to take part on tho oocasion; and actually pay their own travelling expenses, receiving in return for their services a good supper ) myself and others having the mortification, while fulfilling our engagement at Exeter Hall, of seeing the "invites" hawked about by the officials to those who will accept them, to tho exclusion of men who are positively in want, through scavcity of employment. Now, Bit, no one will, I presume, be bold enough to contradict the fact that Her Most Gracious Mnjcsty is liberality itself. Then how account for this? Does not the question naturally suggest itself—Is Her Majesty aware that services are rendered gratuitously, to the exclusion of persons in indifferent circumstances, and who have no other occupation?—that this proceeding is incompatible with the royal dignity, and calculated to deprive Her Majesty of her title of Patroness of the Art and Science of Musio? One thing only can bo supposed, which is, that Her Majesty is either totally unacquainted with the fact, or that she docs sot understand what is meant by want of employment. Who, then, is to blame ?—The Master of the Private Band, and who Conducts those great annual performances, is Mr. Anderson. Will it be too much to lay the blame on his shoulders? Certainly not.* It is well known that there are at present two vacancies in Her Majesty's private band, one of them of eight months' standing, which has been offered to and refused by three gentlemen-—surely not on account of the high salary?
Pray, sir, use your influence in these matters, for by this means alone may the profession hope they will reach the eyes of Royalty, and then, only, may we have fair hope that tho titles of Patroness and Patron of the fine arts will be fully accorded to our beloved Queen and her noble Consort, and our profession raised from the miserable state into which it has fallen. A C'hobus Sinqee.
To the Editor of the Musical World.
Sib,—As a somewhat interested looker-on in the very pretty quarrel now raging between some of the amateur ohorus singers of the Harmonic Union, and those who have gone to the New Philharmonic, one object seems to me to be clear enough.
'" Whether those who now advocate the cause of the latter left the Harmonic Union of their own accord, or more likely (as appears from the Lias and Roodhouso and Stroud correspondence which has appeared in your publication) their withdrawal arose from not being able at once to pay their share of the losses they incurred as "Directors," one thing is certain: the effect of these amateurs aiding the New Philharmonic Society will be another sad blow to the prospects of the professional chorus singer.
The New Philharmonic Society made it a feature of great promise that "a professional chorus of 200 voices" was to be engaged at the concerts. Dr. Wylde now seems to have departed from this, for all
* Not long since a member of the band was refused permission to visit his father, who was dying; the plea given was, that "the Queen's business must be attended to I" I
the correspondence tends to show that these amateurs, anxious, perhaps, to make public appearances without paying for it, proffer their services to the New Philharmonic to the exclusion of the profession.
Even the secretary to the New Philharmonio is one of these amateurs who "directed" the Harmonio Union, although, probably, for reasons best known to himself, he does not add his name to the letter of Messrs. Roodhouse and Stroud, as he should have done in last week's World. Does he work for nothing? If so, he does himself injustice, for I do not see the customary "Honorary" added to his designation.
Do pray use your powerful pen against this additional hardship upon my class, for it is already next to impossible for any one to live who has tho misfortune to be A Professional Cuonua Slngbb.
26tt December, 1854.
[Though we promised our readers to drop for the faturo all allusions to the Harmonic Union dispute, as the above letter relates to a subject of abstract interest—namely, the grievances of professional choristers— we shall be excused for having given it insertion.—Ed.]
Mr, George Genge gave a concert and ball at the Freemasons' Hall on Tuesday evening. The singers and instrumentalists engaged were, for the former—Misses Poole, Wells, J. Wells, Madame Newton Frodsham, Masters Williams and Naylor, Messrs. Holmes, Kenny, Turner, Smythson, and Farquharson; for the latter—Mr. George Case (concertina), Mr. Viotti Collins (^keHn), and Mr. J. G. Callcott (pianoforte.) Mr. Adams's band attended, and Mr. Frampton officiated as master of the ceremonies.
The Mission Of Beethoven.—He felt, himself, both the force and the grandeur of his mission; the whims which escaped him in many instances leave no doubt upon this subject. One day his pupil, Ries, having ventured to call his attention to a harmonic progression in one of his new works, declared faulty by theoricians, Beethoven replied, ''Who forbids this?" "Who? why, Fuchs, Albrechtsberger, all the professors." "Well, / permit it." In another instance, he said, with naiveii, "I am of an electric nature, that is why my musio is so admirable." The celebrated Bettine relates in her correspondence, that Beethoven said to her one day: "I have no friend : I must live with myself alone, but I well know that God is nearer to me in my art than to others ; I commune with him without dread ; I have ever acknowledged and understood him ; neither have I any fear for my music, it can meet no evil fate; he to whom it makes itself intelligible must become free from all the wretchedness which others drag about with them."
MUSIC PUBLISHERS' CIRCULAR.
A List of tho Music published in London during tho past woolc s. d.
Anelli—Edinburgh Polka J ■_ .•.-.. H .>. Co. 1 0
Borrow—Militia Galop Motilor 2 0
Clinton—Konigsborg Tolka and Eloctrio Oalop, Piute and
Piano Boosey £ Sons 3 0
Ford—Joo in tho Copper, Comic Song Shepherd 2 0
Hers—Nonpiumeata Matxler 4 0
Herz—LaViolotte Motaler 4 0
II TroTatore—Piano Solo, Boosoy's "Opera Journal" .. Boosey A Bona 4 0
Le Due—Fantasia, Quillaume Tell Jewell * Co. 4 0
Bedl—Lo Clarclina, piano and comet .. .. .. .. „ 10
Schulhoff, Jules—Galop di Bravura „ 4 0
u Chansons des paysans Bohemcs .... „ 16
Unfurl tho Bed Cross, War song Boosoy £ Sons 4 0
MISS REBECCA ISAACS begs to inform her friends and the public that she now recoives Pupils at hor rosidonco. No. 8, Storestreet, Bodford-Bquare, whero cmumunicationB for Concerts will bo received.
A SHOPMAN "WANTED in a Country Music Warehouse. Must be active, intelligent, and of good address; and oonvorsant with the Loudon Trade Catalogues. Letters to W. J. M., care of J. Shepherd, 9S, Newgate-street
MISS BLANCHE CAPILL (Pupil of Louis Leo—Voice, Mezeo-Soprano), Professor of Music and Sinking, 47, Alfred-street, Rivertvrraco, Islington, where letters respecting pupils or engagements may bo addressed.
QALAMANS SECOND MUSICAL LECTURE "On
O tho INVENTION and DEVELOPMENT of tho PIANOFORTE," illustrated by Music, Diagrams, and Models, on Tuesday Evening uoxt, nt tho Mnrylobouo Literary Institution, Edward-street, Portinan-square, at Half-past Eight. Tickets 3a., 2s., and Is., at the Institution and Music-shops.
MR. GOFFRIE'S LAST SOIREE will take place on Wednesday, January 17th, at 76, Harley-street, when the following artists will appear:—Vocalists—Misses Mcssent, Mouat, A. Vernon, Madlle. Bauer, Madame and Big. Lorenzo. Instrumentalists—Madlle. Groover, Messrs. Kialhnark, Goilniick, Herr Kottcnus (Solo Violinist to the Prince Regent of Baden, his first appearance), and Messrs. Gofirie, Webb, and Faque.
THE ROYAL PATRIOTIC FUND BALL will take place at the Hanover-smiaro Rooms, under distinguished patronage, ou Friday, Jan. 26*. Henderson's lull Ijandof 20 performers. Bingle Ticketa, Hitj. 6d.; Double Tickets, £\ Is.; Family Tickets, admitting three ladies and one geutlcnian, 1J guinea; to bo had of the Stewards. Robt. W. Ollivjbh, Hon. Sec., ID, Old Bond-street, of whom all particulars may be obtained.
THE ROYAL PANOPTICON OF SCIENCE AND ART. LEICESTER SQUARE.—The Building comprises a largo circular H»U, 100 feet in diameter, and 1U0 feet high, surrounded by three GolTeriea, and surmounted by a Dome, the whole gorgeously decorated in tho Samceuio style of architecture. The Exhibition includes a splendid Fountain, throwing the water 100 feet; a Crystal Tank, holding 0,0u« gallons of water, for the display of Messrs. Heinke's Diving Apparatus, of the Electric Li^ht under water, and other subaqueous experiments; a Cosmorama of St. Petersburg with Portrait of tho Emperor Nicholas; a Transparent Screen, 32 feet wide, and M feet high, for the display of Dioramic Views, ot tho Chrnmatropo, and of other optical effects; a magnificent Organ, containing 4.004 pipes, with tho bellows worked by steam power, the richest and most powerful instrument of its kind in existence, on which a variety of Sacred and Operatic Music is performed duly at intervals, by Mr. W. T. Best, the Organist of the Institution ; a gigantic Electric Machine, the largest ever constructed, theinlnto ten feet in diameter, with a large Leydou Battery attached; Voltaic Batteries of high power ou a novel principle; and in the two Galleries, a variety of machinery and manufacturing processes in action, including tho Na«sau Steam Printing Machine, a complete series of Whitworth'a Machinery, Kirby and Beard's Pin and Needle Machines. Perkins' Apparatus for tho Combustion of Steel Brock's Ornamental Sawing Machine, Prideaux a Patent Self-closing Furnace Valve for the prevention of smoke, *c, an Ascending Carriage, Brett's Electric Telegraph, 4c, Ac. ; a selection of Scidpture. including Monti's Veiled Figure, "Tho Houri," executed expressly for the Institution, a Gallery of Pictures on sale, and ether objects of Art. Distin'a celebrated FlUgel Horn Uuion every evening. Attached to the Institution are two Lecture Rooms, in whicli demonstrations are
Sivcn Beveral times daily, tn various branches of Science and Art, and Lectures eUvercd from time to time ou Literary and Scientific subjects: a spacious Laboratory and Chemical School J a Photographic Gallery, in which j)ortraits are taken Open daily: Morning, 12 to 6; Evening (Saturday excepted), 7 to 10. Admission la.: School* and Children under 10, half price.
ST. MARTIN'S HALL—Will be performed on Wedncaday, Jan. 17th, a NEW ORATORIO, tho NATIVITY, by Mrs. Mounsey Bartholomew; and Beethoven's Mount of Olives; under the direction of Mr. John Hullah. Principal Vocalists :—Mrs. Eudersohn, Miss Fanny Huddart, Miaa Palmer, Mr. Allen, Mr. Montem Smith, Mr. Weiss, Tickets Is., 3s. 6d., and 5a., may be had of all muslcseUers, and at St. Martin's Hall. Commence at half-past seven.
MADAME OURY'S PARTANT POUR LA 8YRIE. Fourth Edition. Prlco 8s. Booacy and Sous, 26, Hollos-street.
T^hfquartett in RIGOLETTO (Brighter than the Stars), adapted by Qeoroi Lihlet. 3s. Booeey and Son, 28, Holies-street.
A. OSBORNE'S "A TE O CARA," for the Piano
• forto. Price 2a. «d. Boosoy and Sons, 28, Holies-street.
MENDELSSOHN'S LIEDER OHNE WORTE.—Ewer & Co.'8 now, uniform, and complete edition of Mendelssohn's 42 Lieder ohna Worto (original nieloditsX will bo ready in the course of next week. Price, bound with thematic Index, and the author's portrait, las. Ewer 6 Co., 890, OxforoV streot, London.
LAURENT'S GALOP DES GUIDES, performed every evening at the Argyll Rooms. Price 2s. Gd., illustrated. Band parts, Bs. By the same author, '* Valso du Carnaval," always encored, price 3s. Booeey and
Sons, 23, Hollos-street. _
L" AURENT'S VALSE DU CARNAVAL, performed always with an encore. Prlco 3s. Also a third edition of the same author's "VUiklns Walt*," 3s. BooBOyand Sons, 28, Holies-street
L~AURENT'S_HIGHLANDERS' QUADRILLE, on Scotch melodies. Prico .is. Band parts, 5a. Alao a new edition of "Partant i>our la Syrid Quadrille," by tho same author. Boosey aud Sons, 28, Hollea-etreet.
LAURENT'S ZOUAVES' POLKA, illustrated. Price 2a. Cd. Band parts, 5s. Liijiuiir's "Leonora Waltz," prico 3s., illustrated. Boosoy aud Sons, 2S, llollea-fltroot.
NOTICE.—LAURENTS' ZOUAVES' POLKA and GUIDES' OALOP, as performed by LauroDt's Band, are published only by Booeey and Sous, 28, Holies-street Doing the most effective compositions of tho kind which have appeared for many years, Bandmastors and conductors ara recommended to procuro tho orchestral parts, which are now just published, price 6a. each. The pianoforte copies are 2a. 6d. each, illustrated.
THE BALTIC GALOP, by Albert Wagner, illustrated with an excellent Likeness of Sir Charles Napier. This popular Galop is playod every evening in public, and is always encored. Price 2s. fld. Boosoy and Bona, 28, Holies-street.
THE VILLAGE BLACKSMITH.—The words by Longfellow. The music composed and sung by W. H. Weiss. Messrs. Cramer, Beale, and Co., 201, Regent-etroot; and Messrs. Addison and Hollier, 210, Regent-street.
GIBSONE'S PARTANT POUR LA SYRIE. Price 2s. 6d. '■ The French National Air has been arranged by Mr. Gibsone with consummate skill. The variations are light, elegant, and pleasing, and will bo found admirably adapted for school teaching."—Musical JUvievt.
Campbell, Hansford, and Co., 53, New Bond-street, London.
CASES INSTRUCTIONS for Performing on the CONCERTINA, commencing with the first rudiments of music, and proceeding through a Progressive Course of Study to the most difficult and elaborate style of performance: comprising Examples, Exercises, and Explanations, composed, compiled, and arranged by Gborqe Cask, price 10s. 6d. Booscy & Sons, 28, Holies-street.
NEW MUSIC for CONCERTINA and PIANO, by O. Reoondi.—Lucia di Lammermoor, in 2 books, 4s. each; Puritan i, in 2 books, 4s. each; Lcs Huguenots, in 4 books, 3s. each; Robert le Diablo, in 8 books, 3s. each; La Sounambula, 6 books, 3s. each; Rigoletto, 3 books, 3s.; Ernoni, 3 books, 3s. each; Linda, 3 books, 3s. each. Booscy and Sons, 28, Holiesstreet.
VERDI'S IL TROVATORE.—The success which this opera has just achieved in Paris surpasses all precedents. Messrs. Booscy have published a complete edition (unabridged and unaltered) for Voice and Pianoforte, with Italian words. Price 21s., folio size. Also the whole of the favourite melodies from II Trovatore, arranged for the Pianoforte by Rudolf Nordmann, in Two Large Books, 2s. each—(Half the usual prico.)
THE NUN'S PRAYER.—"This is one of the most beautiful aud entrancing comj>oeitions we have evor mot with. The purity and melody of the theme ore exquisite, aud the expression of tho simple chords must awaken devotion iu the coldest heart."—Eliza Coof $ Journal. Price, Song, 2s. ; Harp, 2s. Od.; and for tho Piano, by Nordniaun, 3s. Boosoy a^d Sous, 28, Holies-street.
GEO. OSBORNE'S BEAUTIES OF SCOTTISH MELODY.—No. 1, Scots wha hoo; No. 2, March of the Cameron men; No. 3, Jock o' Hazlcdean; No. 4, Aidd long syne; No. 5, Roy's wife; No. 6, Coming thro' the rye. Price 2s. each. These beautiful melodies have been arranged by Mr. Osborne in a style equal to tho best productions of his i>eu—simple, yet most elegant: they will alike charm the young student and the accomplished pianist. Campbell, Ransford, aud Co., 53, New Bond-street.
NOW ready for delivery, THE MUSICAL DIRECTORY for 1855. Contents:
1. An Almanack, with musical data.
2. A List of Musical Societies throughout the Kingdom. S. The Musical Doings of the past year.
4. Complete List of Music pu bushed throughout the Kingdom between 1st of
January and 31st December, 1854.
5. Names of Professors, Music-sellers, and Musical Instrument Manufacturers,
throughout tho Kingdom, with their Addresses, &c. Rurlall, Rose, Carte, and Co., 100, New Bond-street, and 20, Charing Cross.
rpHE LONDON* ORCHESTRA — Conductor, Mr.
X Frank Mori; Leader, Mr. Trirlwall. Including Messrs. Barret, Mount. Mann, Lazarus, Baumann, Remusat, Lovell Phillips, Prospere, Cioffi, Zeiss. Tolbecque, Nadaud, Chipp, &c For terms apply to Mr. A. Quest, 1, Kingston Russell-place, Oakley-square, Camden-town, or Messrs. Cramer, Beale, and Co., 201, Regent-street.
ROYAL ACADEMY OF MUSIC. —The First Lent Term will commence on Monday, January 22nd, 1855. Candidates for admission must attend at the Institution on the Saturday previous, at Three o'clock. For Prospectuses of the New Regulations relative to the admission of Students, the alterations in tho Terms, aud Payments, apply to tho Secretary, No. 4, Tenterden-street, Hanover-square. By order of the Committee. Royal Academy of Music, Jan. 10th, 1855. J. Gixson, Secretary.
HE PATENT DUETT CONCERTINA,
Price £\ lis. 6d. and 42 2«., with box complete.—This novel and extraordinary instrument comprises two Concertinos in one; each having unison notes, enabling a single performer (without difficulty) to play duets or melodies with a separate accompaniment. It is also admirably suited to the voice, and combines results not to be obtained in any diatonic instrument of the description now in use. Inventors, Whoatstone and Co., (original patentees of the Concertina), 20, Conduit-street, Regent-street.
LBINOLO'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 presont every soldier going to the seat of war with a box to dress his wounds or sores, as a token of sympathy for his Bufferings.—Apply, 29, Marylebone-strect, Regent-street
In Pots, duty included, Is. 1 Jd., 2s. fid., 4s. 6d., lis., 22s., aud 33s.
On the 22nd November, I delivered eight large tin boxes, containing together 2001bfl., to Dr. Andrew Smith, Director to the Army Medical Board, to send them to the Army in the Crimea.
pHAPPELI/S FOREIGN MODEL PIANOFORTE.—
\J PRICE FIFTY GUINEAS.—This instrument has (unlike the ordinary cottage pianoforte) THREE STRINGS, and the fullest grand compass of SEVEN OCTAVES. It is strengthened by every possible means to endure the greatest amount of wear, and to. stand perfectly in any climate. The workmanship is of the best description, the tone is round, full, and rich, and the power equal to that of a Bichord Grand. The Case is of the most elegant construction in Rosewood, (vide the aketchX the touch elastic, and the repetition very rapid. Every possible precaution lias been taken to insure its standing well in tuno. Mr. Cliappeu especially invites the attention of the public, the profession, and merchants to the FOREIGN MODEL, feeling assured that no pianoforte, in all respects comparable, has hitherto been made in England at tho'same price. Every instrument will be warranted, and (if desired) exchanged within twelve months of the purchase. 50, New Bond-street, Loudon.
EDWARD GREAVES obtained Honourable Mention at the Exhibition, 1851, for tho
PATENT CHROMATIC TUNING FORKS, sounding all tho Tones and Semitones of tho Octavo; a perfect guide for tuning Pianofortes, Ac, and for Leaders of Choirs, Ac. .'
THE ^EOLIAN MUTE (a combination of tho "A" iEolian Pitcb-Pipo and the Mute) for the Violin, is more easily applied and detached than the old Mute.
BLUED-BTEEL SOSTENENTB TUNING FORKS, superior to all others in tone and finish. Sold by all Mtuic-sellers. Manufactured by Edward Greaves, 56, South-street, Shcfiield.
.EOLIAN PITCH-PIP BS, all notes in the Octavo—Diatonic aud Chromatic Sets. Sets for the Violin, Guitar, and Harp.
THE PATENT PORTABLE METRONOME (Registered according to Act of Parliament, 6 A 7 Vict, c. 03), is a very complete and perfect instrument for measuring time iu music. It is the size and form of a small watch, and maybe carried iu the waistcoat pocket being similar to a spring measuring tape, on one side of which aro marked the number of vibrations in one minute (as iu Maelzel's Metronome), and on the other tho Italian musical terms in general use. From its moderate price, small dimensions, and practical usefulness, it is adapted for all classes of musicians and singers. Price, with case and suspender, Brass, 5s.; German Silver, 6s.; Pearl, 7s. ; Shell, 8s.; Electro-plated, 8s.; Gilt 10s. each.
TO THE MUSICAL PROFESSION. — CONSERVATIVE LAND SOCIETY.—MOST ELIGIBLE INVESTMENT.—ALLOTMENT of the OLD FORD ESTATE, BOW, MIDDLESEX—A PUBLIC MEETING WILL BE HELD at the BEAUMONT INSTITUTION, MILE-END-ROAD, on FRIDAY EVENING, Jan. 19, 1855, at Half-past Seven for Eight o'clock. The Lord Viscouut RANELAGH iu the Chair, whon a Deputation, consisting of Colonel Browidow Knox, M.P.; Henry Pownall, Esq. ; R. N. Fowler, Esq. ; aud the Rev. Dr. Worthingtou, Members of tho Executive Committee; C. E. Lewis, Esq , Solicitor; George Morgan, Esq., Surveyor; and C. L. Gruneisen, Esq., the Secretary; will attend to explain tho mode of Allotment of tho abovo valuable Estate, which has been purchased for distribution amongst the Members of tho Conservative Land Society.
Tho ALLOTMENT of the OLD FORD ESTATE will take place at the Offices of the Society, 33, Norfolk-street, Strand, ou WEDNESDAY, Jan. 24, 1855, between the hours of Eleven and Four o'clock.
Tho EAST RETFORD ESTATE, NORTH NOTTINGHAMSHIRE, will be allotted at tho same time.
For Plans. Prospectuses, information as to the Estates and Rights of Choice, and Advances for Budding, apply to the Secretary, Charles Lewis Gruneisek.
Shares £50 each; Monthly Payments 8*. per Month; those paid in advance one year cost J£5 3s. 64. The taking of Lota on Estates is quite optional. No liability for Members. Five per Cent, guaranteed on Completed Shares and Payments of a year in advance and upwards.
HOLLO WAY'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.
CHRISTMAS PRESENT&— The most appropriate offertugs for this Season of Festivity, are those which tend to the promotion of Health and Personal Attraction—none can be more acceptable than ROWLAND'S MACASSAR OIL, for imparting a transcendent lustre to the Hair, and sustaining it In decorative charm. ROWLAND'S KALYDOR imparts a radiant bloom to the Cheek, and a delicacy and softness to the Hands, Arms, and Neck; and ROWLAND'S ODONTO, or PEARL DENTIFRICE, bestows on the Teeth a pearl-like whiteness, and renders the breath sweet and pure. The patronage of royalty throughout Europe, their general use by rank and fashion, and the universallyknown efficacy of these articles give them a celebrity unparalleled. Sold by A. Rowland and Sons, 20, Hatton Garden, London; and by Chemists and Perfumers.—Beware of spurious imitations I
Published by John Boosey, of 27, Notting Hill fjquaro, in the parish of Kensington, at the office of Booscy & Sons, 28, Holies-street. Sold also by Reed, 15, Johnstreet Great Portland-street; Allen, Warwick-lane; Vickers, Holywell-street; Keith, Prowse, *»na Cw., to, Chcapside; G. Scheurmann, 86, Newgate-street; Harry Mat, 11, Holborn-bars. Agents for Scotland, Patkrson And Sons, Edinburgh ; for Ireland, 11. Bussell, Dublin; and alt Music-sellers.
Printed by William Spencer Johnson, "Nassau Steam Press," 00, St. Martin's Lane, in tho Parish of St Martin's in tho Fiolds, iu tho County of Middlesex.