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Haydn got me appointed to the service of the Duke of Wur-
temberg; 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 dis-
tinction 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 engage-
ment, 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 accom-
plished Grand Duke, and of my distinguished pupil the Grand
Duchess.

"Since 1816, I 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 enfans d'Apollon 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 unprinted 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."

FILIPPO GALLI.

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 on a footing of most affectionate friendship. One was never seen without the other. On the promenades, at the theatres, cafés, 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 be 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.

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 under-Perhaps he was never more touching, never more impassioned in his acting, never sang the music of Ninetta's father better stand a cause, is to lose all sense of the beauty of the effect. In than on this night. When he ceased, the plaudits recommenced. spite of the philosophers, however, Art and Science are cerHe was recalled five or six times-they would not allow tainly becoming sworn brothers. Meantime, what would our him to leave the stage. Then it was Rossini's turn ancestors in the days of the Inquisition have said could they for applause-in Italy the composer always directs the have seen steel bars severed in a few seconds amidst a hissing orchestra in person. There was a new excitement, and after shower of livid flame? holes bored in iron plates an inch thick, the public had applauded, and Rossini bowed sufficiently, the with as much ease and rapidity as you could puncture a piece of audience cried to Rossini and Galli-“ Embrace and be friends; card with a pin? By what but " some devilish cantrip sleight," make it up, make it up! Vive Galli! vive Rossini !" The two could bundles of nails and steel filings be made to assume life, friends flew into each other's arms, weeping, amidst immense and bristle up into form and consistence at the word of the acclamations. 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 the Cosmorama of 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 Sebastopol; 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.

PAGANINI being once asked who he considered the first violinist in the world, answered "I don't know who is the first; Lipinsky is the second."

In 1821, Felippo Galli came to Paris. He first sang at the Grand-Opéra, 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 Then he went to Rome, to Madrid, and, tempted by the large years he remained a star of the first magnitude at the Scala. 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 nine 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

By George Lichtenstein. Ewer and Co.

to all. When Rossini brought him his engagement at Paris, he "MY DREAM." Waltz for the Pianoforte, with Cornet Ad Libitum. 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 Napoleone Rossi.

REVIEWS.

"THIRD SET OF SIX MELODIES," for the Violin and Piano. By Bernhard Molique. G. Scheurmann. THE first and second sets of "Melodies" for violin and pianoforte, which were published by Herr Molique some time ago, have 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 homea presumptive proof, among many others, that he who can do large things 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 elaborateconditions that are likely to enhance their chance of an extended circulation. For freshness of thought and fluency of tune 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 keepingalways 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 be not a sufficient recommendation in itself?

"REVERIE.”—La Prière des Anges.-Pour le Pianoforte.-Par Jules Egghard. Ewer and Co.

A not very remarkable melody, accompanied by a not very remarkable arpeggio. The same thing has been written in the same manner somewhere near a thousand times. The eminent pianist, Sigismund Thalberg, has much to answer for.

"STARS OF NIGHT." Canon for Soprano, Tenor and Bass, with Pianoforte Accompaniment. Composed by P. Lindpaintner. "THOU, MY HEART, ART NOT FORSAKEN." 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 distingué, 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 was impossible to end in another manner) introduces the coda, which is shorter and less effective than that of its companion round.

It is some time since we have seen a more elegant set of waltzes than the above. The introduction and the first three figures, especially, are really charming, tuneful and well-marked, while not at all common-place. The 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 répertoire of M. Kalozdy's well-known Hungarian band. It does credit to M. Lichtenstein's musical talent, and to his entirely unvulgar feeling of dancemusic, which we wish some 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 the London Philharmonic, and Royal Italian Opera. Mr. Alfred Mellon, the bona 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 he 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.

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.

QUARTET CONCERTS-CROSBY HALL.-The first of Mr. Dando's

LOVE'S SOUVENIR.* (Words for Music.)

The hour is nigh,

To bid good bye,
When we awhile must part;
Lest Fate estrange,
Let us exchange
Each other's beating heart!
So may we then confide,
And lay all fears aside;

For oh! in absence, love to cheer,
The heart's the only Souvenir !

Tho' sunder'd wide,
Tho' seas divide,
In thought we're ever nigh!
Chase, chase those tears,
Dispel thy fears,

And, smiling, say "Good bye!"

Then yield thy pledge to me,

And I'll leave mine with thee;
And, tho' we part, 'twill prove more dear,
The heart is love's best Souvenir.

These lines are copyright.

ORIGINAL CORRESPONDENCE. COMPLAINT OF A PROFESSIONAL CHORUS SINGER. To the Editor of the Musical World. SIR,-On New Year's Day a grand performance of Beethoven's "Praise of Music" 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 state a grievance; for I feel convinced you are as willing to do your utmost to remove and remedy that which is inju rious 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 season of the year believe me I find it no easy task to keep the wolf from the door; 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-five persons, not more than twelve or fifteen "professionals" are engaged. The others consist of members and friends of the Sacred Harmonic Society, who are invited to take part on the occasion; 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 the exclusion of men who are positively in want, through scarcity of employment. Now, sir, no one will, I presume, be bold enough to contradict the fact that Her Most Gracious Majesty 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 Music? One thing only can be supposed, which is, that Her Majesty is either totally unacquainted with the fact, or that she does not 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 the 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 CHORUS SINGER.

To the Editor of the Musical World. SIR,-As a somewhat interested looker-on in the very pretty quarrel now raging between some of the amateur chorus 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 Roodhouse 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.

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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 Philharmonic is one of these amateurs who "directed" the Harmonic 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 the misfortune to be A PROFESSIONAL CHORUS SINGER.

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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 (violin), and Mr. J. G. Callcott (pianoforte.) Mr. Adams's band attended, and Mr. Frampton officiated as master of the ceremonies.

"Who?

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?" why, Fuchs, Albrechtsberger, all the professors." "Well, I permit it." In another instance, he said, with naïveté, "I am of an electric nature, that is why my music 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."

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The New Philharmonic Society made it a feature of great promise Glasgow 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 l"

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MR.

R. GOFFRIE'S LAST SOIREE will take place on Wednesday, January 17th, at 76, Harley-street, when the following artists will appear:-Vocalists-Misses Messent, Mouat, A. Vernon, Madlle. Baner, Madame and Sig. Lorenzo. Instrumentalists-Madlle. Graever, Messrs. Kiallmark, Gollmick, Herr Kettenus (Solo Violinist to the Prince Regent of Baden, his first appearance), and Messrs. Goffrie, Webb, and Paque.

THE ROYAL PATRIOTIC FUND BALL will take

place at the Hanover-square Rooms, under distinguished patronage, on Friday, Jan. 26. Henderson's full band of 20 performers. Single Tickets, 10s. 6d. ; Double Tickets, 1 18.; Family Tickets, adinitting three ladies and one gentleman, 1 guinea; to be had of the Stewards. ROBT. W. OLLIVER, Hon. Sec., 19, Old Bond-street, of whom all particulars may be obtained.

THE

HE ROYAL PANOPTICON OF SCIENCE AND ART, LEICESTER SQUARE.-The Building comprises a large circular Hall, 100 feet in diameter, and 100 feet high, surrounded by three Galleries, and surmounted by a Dome, the whole gorgeously decorated in the Saracenic style of architecture. The Exhibition includes a splendid Fountain, throwing the water 100 feet; a Crystal Tank, holding 6,000 gallons of water, for the display of Messrs. Heinke's Diving Apparatus, of the Electric Light under water, and other subaqueous experiments; a Cosmorama of St. Petersburg with Portrait of the Emperor Nicholas; a Transparent Screen, 32 feet wide, and 36 feet high, for the display of Dioramic Views, of the Chromatrope, and of other optical effects; a magnificent Organ, containing 4,004 pipes, with the 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 daily at intervals, by Mr. W. T. Best, the Organist of the Institution; a gigantic Electric Machine, the largest ever constructed, the plate ten feet in diameter, with a large Leyden Battery attached; Voltaic Batteries of high power on a novel principle; and in the two Galleries, a variety of machinery and manufacturing processes in action, including the Nassau Steam Printing Machine, a complete series of Whitworth's Machinery, Kirby and Beard's Pin and Needle Machines, Perkins' Apparatus for the Combustion of Steel, Brock's Ornamental Sawing Machine, Prideaux's Patent Self-closing Furnace Valve for the prevention of smoke, &c., an Ascending Carriage, Brett's Electric Telegraph, &c., &c.; a selection of Sculpture, including Monti's Veiled Figure, "The Houri," executed expressly for the Institution, a Gallery of Pictures on sale, and other objects of Art. Distin's celebrated Flügel Horn Union every evening. Attached to the Institution are two Lecture Rooms, in which demonstrations are given several times daily, in various branches of Science and Art, and Lectures delivered from time to time on Literary and Scientific subjects: a spacious Laboratory and Chemical School; a Photographic Gallery, in which portraits are taken. Open daily: Morning, 12 to 5; Evening (Saturday excepted), 7 to 10. Admission 1s.: Schools and Children under 10, half price.

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MENDELSSOHN'S TWO-PART SONGS.—EWER and

Co.'s new, uniform, and complete Edition of Mendelssohn's 13 Two-part. Songs is now ready. Price, half-bound and gilt edges, 8s.; or elegantly bound, with the Author's portrait, 148. London: Ewer and Co., 390, Oxford-street.

B

OOSEY'S ORCHESTRAL JOURNAL, No. 35 (published this day), contains Laurent's Zouaves' Polka, performed every evening at the Argyll Rooms. Price, 5s.; for septett, 3s. Cd. Boosey and Sons, 28, Holles-street.

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THE BALTIC GALOP, by ALBERT WAGNER, with an excellent Likeness of Sir Charles Napier. This pillustrated CHAPPELL'S FOREIGN MODEL PIANOFORTE.

played every evening in public, and is always encored. Price 2s. 6d. Boosey and Sons, 28, Holles-street.

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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 sketch), the touch elastic, and the repetition very rapid. Every possible precaution has been taken to insure its standing well in tune. Mr. Chappell 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 the same price. Every instrument will be warranted, and (if desired) exchanged within twelve months of the purchase. 50, New Bond-street, London.

EDWARD GREAVES obtained Honourable Mention at

Exhibition, 1851, for the

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EOLIAN PITCH-PIPES, all notes in the Octave-Diatonic and Chromatic Sets. Sets for the Violin, Guitar, and Harp.

THE PATENT PORTABLE METRONOME (Registered according to Act of Parliament, 6 & 7 Vict., c. 65), is a very complete and perfect instrument for measuring time in music. It is the size and form of a small watch, and may be carried in the waistcoat pocket, being similar to a spring measuring tape, on one side of which are marked the number of vibrations in one minute (as in Maelzel's Metronome), and on the other the 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, 78.; Shell, 88.; Electro-plated, Ss.; Gilt, 10s. each.

PROFESSION. - CONSERVA

THE NUN'S PRAYER. "This is one of the most beautiful and entrancing compositions we have ever met with. The purityT THE MUSICAL POST ELIGIBLE INVESTMENT.ALLOT

and melody of the theme are exquisite, and the expression of the simple chords must awaken devotion in the coldest heart."-Bliza Cook's Journal. Price, Song, 28.; Harp, 2s. 6d. ; and for the Piano, by Nordmann, 38. Boosey and Sons, 28, Holles-street.

G1

EO. OSBORNE'S BEAUTIES OF SCOTTISH MELODY.-No. 1, Scots wha hae; No. 2, March of the Cameron men; No. 3, Jock o' Hazledean; No. 4, Auld lang 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 the best productions of his pen-simple, yet most elegant: they will alike charm the young student and the accomplished pianist. Campbell, Ransford, and Co., 53, New Bond-street.

NOW ready for delivery, THE MUSICAL DIRECTORY

for 1855.

CONTENTS:

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The

MENT of the OLD FORD ESTATE, BOW, MIDDLESEX.-A PUBLIC MEET-
ING WILL BE HELD at the BEAUMONT INSTITUTION, MILE-END-ROAD,
on FRIDAY EVENING, Jan. 19, 1855, at Half-past Seven for Eight o'clock.
Lord Viscount RANELAGH in the Chair, when a Deputation, consisting of Colonel
Brownlow Knox, M.P.; Henry Pownall, Esq.; R. N. Fowler, Esq.; and the Rev.
Dr. Worthington, Members of the Executive Committee; C. E. Lewis, Esq,
Solicitor; George Morgan, Esq., Surveyor; and C. L. Gruneisen, Esq., the
Secretary; will attend to explain the mode of Allotment of the above valuable
Estate, which has been purchased for distribution amongst the Members of the
Conservative Land Society.

The ALLOTMENT of the OLD FORD ESTATE will take place at the Offices of the Society, 33, Norfolk-street, Strand, on WEDNESDAY, Jan. 24, 1855, between the hours of Eleven and Four o'clock.

The EAST RETFORD ESTATE, NORTH NOTTINGHAMSHIRE, will be allotted at the same time.

For Plans, Prospectuses, information as to the Estates and Rights of Choice, and Advances for Building, apply to the Secretary, CHARLES LEWIS GRUNEISEN.

Shares £50 each; Monthly Payments 8s. per Month; those paid in advance one year cost £5 3s. 6d. The taking of Lots 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.

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 of and at Professor Holloway's Establishment, 244, London; and 80, Maiden-lane, New York.

ROYAL ACADEMY OF MUSIC.-The First Lent indiscriminately, without fear of suffering from his former ailments.-Sold by all

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 the Terms, aud Payments, apply to the Secretary, No. 4, Tenterden-street, Hanover-square. By order of the Committee. Royal Academy of Music, Jan. 10th, 1855.

HE PATENT DUETT

TH

J. GIMSON, Secretary. CONCERTINA,

Price 1 11s. 6d. and 2 28., with box complete.-This novel and extraordinary instrument comprises two Concertinas in one; cach 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, Wheatstone and Co., (original patentees of the Concertina), 20, Conduit-street, Regent-street.

A1 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 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. 1d., 2s. 9d., 4s. 6d., 11s., 22s., 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.

CHRISTMAS OR of Festivity, are those which teal to the promotion of PRESENTS.-The most appropriate offer

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!

Published by JOHN BOOSEY, of 27, Notting Hill Square, in the parish of Kensington, at the office of BOOSEY & SONS, 28, Holles-street. Sold also by REED, 15, Johnstreet, Great Portland-street; ALLEN, Warwick-lane; VICKERS, Holywell-street; KEITH, PROWSE, ana Co., 48, Cheapside; G. SCHEURMANN, 86, Newgate-street; HARRY MAY, 11, Holborn-bars. Agents for Scotland, PATERSON AND SONS, Edinburgh; for Ireland, H. BUSSELL, Dublin; and all Music-sellers.

Printed by WILLIAM SPENCER JOHNSON, "Nassau Steam Press," 60, St. Martin's Lane, in the Parish of St. Martin's in the Fields, in the County of Middlesex.

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