REVIEWS.

"SIX ORIGINAL COMPOSITIONS." Written and Composed by

Charles Mackay.

MISCELLANEOUS.

From the Six Compositions before us we may select three, as possessing more than ordinary merit, both musical and poetical. The romance, "Dudley Castle"-perhaps the best of them all embodies a pretty story and a sad, in the style of the old feudal poetry, which, were the diction dressed up in an antiquated garb, might have passed, with little chance of detection, except from bookworms almost bent double in the quest of musty and forgotten vellums, for one of Percy's relics, or Ritson's ballads. The tune is extremely plaintive, and, in the accompaniments, Mr. Mackay has displayed a knowledge of harmony, and a taste in its application, for which we could hardly have given any amateur credit. Moreover, and this is still more strange, they are written with a correctness which defies criticism.

"The Fisherman and his Wife" is a bold and animated glee for three voices, quite in the style of some of the late Sir Henry Bishop's less elaborate essays in this branch of vocal composition. It is well voiced and effective. The accompaniment may be praised like the other, with the reservation, that, in the short symphony, page 4, stave 1, bar 2, the chord of E, followed by the flat 7th on C, robs it of its otherwise well-preserved simplicity. The words are famous, of the jolliest glee and catch calibre.

"When first my fancy ceased to roam" is a ballad which, for flowing and unstudied tune, might be taken for one of those spontaneous national melodies that have sprung from the woods, and hills, and valleys, no one knows how, to throw a ray of cheerfulness and confer innocent enjoyment on village life. The words of this ballad, though pretty, are somewhat strained, for melody of such true and unaffected simplicity; for example"The wavelet, dazzled by a star,

Lies lonely 'mid the restless sea; But I, a wavelet happier far,

The star itself came down to me."

"O say, fond heart" and "The rose's errand" are ballads, equally unpretending, but scarcely so attractive. The last, however, embodies a pretty conceit of flower-language. The poet communicates his passion to the mistress of his soul by the medium of a rose, the silent eloquence of which is so persuasive, that the lady, smiling sweetly, places it on her "happy breast" and wears it till it withers; whereon the poet, in a burst of rapturous content, launches the following quatrain:

"Immortal rose! it could not die, The spirit which it bore

Lives in her heart, as first in mine, A joy for evermore!"

"Believe if you can," though well written, has less merit as a song than any of the others.

ROSSINI. "Rossini," writes the Paris Correspondent of L'Indépendance Belge, (May 25th) "has been in Paris these two days. Yesterday some friends wished to drag him to the Opera. Impossible. 'I will not even enter the peristyle 'was his answer. Conspicuous in the peristyle, as everyone knows, stands the statue of Rossini, on a pedestal." The same writer informs his readers that Jenny Lind, yielding to pressing solicitations, has consented to sing at three concerts in Paris, after the Festival now holding in Düsseldorf. Nous verrons.

ERNST.-A Dublin contemporary, The Weekly Gazette, apostrophises the great German violinist in the following enthusiastic terms:

"Between the acts of the opera, each evening, Herr Ernst performed a morceau, or rather morceaux (for he was always encored), on the violin. We should say that, beyond all doubt, Herr Ernst is the best violinist of the day;-indeed, we have heard several musicians assert arranged by Paganini, is familiar to almost every one; and nearly every that he is fully equal to what Paganini was. Le Carnaval de Venise, one has heard it performed by Camillo Sivorí, and other great per formers; but, while the aria and its variations are the same, Herr Ernst's style is different-his style is his own. In execution and brilliancy he equals, if not surpasses, those other great artistes, but in decision-in élan, he stands unrivalled. Every note in the most rapid passages, even where the score alternates with almost electrical rapidity from the first to the fourth string, is as distinct as if what he was playing were in minims. But an attempt at description would be superfluous-Herr Ernst makes the violin do everything but speak." Further on, the same writer says:

with delight. He, on this occasion, when encored, introduced a very "Herr Ernst's performances on the violin were, as usual, listened to severely-set fantasia, which displayed his wonderful execution to more than usual advantage."

Can any one inform us what is meant by a "severely-set fantasia?"-and can any one unravel the meaning of a "score" alternating with "electrical rapidity from the first to the fourth string?" By the way, our contemporary-whose enthusiasm is well placed, and would atone for many more misuses of technicalities-is wrong in attributing the Carnaval de Venise, as Ernst performs it, to Paganini. The Andante in B flat-one of the most melodious little movements ever composed for the violin-and the greater number of the variations, are Ernst's, and no one else's.

HERR REICHARDT.-This clever singer, who is rapidly gaining in public estimation, seems to have won golden opinions by his operatic performances with Alboni in Dublin. The Dublin Weekly Gazette speaks of him in the following very flattering style :—

"Herr Reichardt's voice is a tenor of the purest kind; and decidedly of the Mario class. It is sweet in every note, of considerable compass, and exquisite in the upper range. We understand that Herr Reichardt was for several years a pupil in the Vienna Academy; and he bears all the traces of the teaching of that celebrated school. His powers of embellishment are very great indeed, and his ornamentation is, in every case, of the most refined character; his falsetto is also exceedingly good. Besides all this, he is a gentlemanly and agreeable actor; and he has, we are glad to see, become quite a favourite with the habitués of the Theatre Royal. He sustained the role of Count Almaviva, in Il Barbiere, splendidly. In Don Ramiro (Cenerentola) he had not so much to do; but the "Ah! questa bella incognita," in the opening of the second act, gave him an opportunity of showing his powers in solo vocalization, and the result was enthusiastic applause, and an encore from all parts of the house. We have seldom heard so finished a piece of tenor-song as this, and from it alone we would augur a brilliant career for Herr Reichardt."

"Ornamentation" is a queer word, nevertheless. It is, however, original, and may pass.

TO CORRESPONDENTS. MUSICA. We shall not (unfortunately) be able to find room for the "Comparison between Haydn and Mozart." For his good will, MUSICA has our best thanks, nevertheless.

A CONSTANT READER.-Our correspondent's letter cannot be published unless we are favoured with his name and address. ROUND TOES.-We shall always be happy to hear from “Round Toes."

W. H. C.-Yes, decidedly. The letters must not be posted later than Thursday, as we publish on Saturday morning.

W. B.-The waltzes and song have been mislaid; but we have ordered them to be looked out.

SPHINX. The piano solos played by Hallé at the third matinée of the Musical Union were two waltzes of Chopin, Op. 63, Csharp minor, and D flat major.

THE MUSICAL WORLD.

LONDON, SATURDAY, June 2nd, 1855.

་་

We had no room for the following letter in our last :— To the Editor of the Musical World. SIR,-During a few weeks I have been (if " frothing" at all) "frothing" through ear-ache, and disclaim the letter mentioning L'Etoile du Nord altogether, and its "concealed venom," for I NEVER SENT IT. The Editor of the Morning Post's general habit of excluding matter contrary to the views of his own musical clique, induced me to send to you a letter addressed to him. I enclose two cuttings from the paper itself, and, begging the correction of a date, 12th instead of 11th May, 1855, remain, yours obliged, R.

May 21, 1855.

P.S.-In the Post of the 11th you will see, if worth the trouble of reference, the dirty corner alluded to.

This new attempt to upset Signor Verdi is positively worse than the others. "R." did not SEND the slashing letter to the Post, in which the composer of Il Trovatore was ironically pitted against the composer of L'Etoile du Nord. Good. But did he WRITE it? We believe he did; and, indeed, are convinced of it. If not, however, we are at a loss to explain why "R." should have taken the trouble to forward us so very cutting "a cutting" as the subjoined :

"If Signor Verdi be really the 'speranza d'Italia,' we cannot congratulate that once-favoured land of song upon its expectations, for a more uninspired or uncultivated composer never yet succeeded in attracting public notice. If mere popularity with the unthinking and unknowing many constitute a claim to the laurel wreath, then may Signor Verdi wear it; but if the unanimous opinion of the best musicians of every country be of any value, then must he be driven from the heights of Parnassus as one who has been puffed up to them by the 'vile breath' of the mob, but who possesses not the magic pass-word which alone can procure admittance amongst the elect. The Italians are very national, and, like the Chinese, have erected a huge and interminable wall around their flowing land, with this difference, that theirs is made of prejudice, whilst that of the Celestial Empire is of stone. Both, however, are equally hard, and stupidly exclusive. Their best singers, whose voices Signor Verdi spoils, and whose style he corrupts, do not really like his music, or even attempt to defend it absolutely, They readily admit that he has not the melody of Bellini, or the general merit of Donizetti (who was a much more educated musician than the author of La Sonnambula); neither would they, or anybody at all conversant with true art, attempt to compare him, or even his better predecessors, with Rossini, Cherubini, or Spontini, not to speak of Cimarosa, and other great men of a still remoter period; but then he was born 'sotto il bel cielo d'Italia,' a mighty recommendation with those who would imagine that every English scribbler must necessarily be

gifted with the Shaksperian spirit, or that every German symphony. maker must be a Beethoven or a Mozart. And, again, Verdi is their only man, and therefore-(mark the 'therefore')-the sole representative of the so-called 'Italian school.' All this is gross error, for, firstly, nationality of style does not, in itself, constitute artistic excel

lence; and, secondly, it is an insult to the true Italian school to call such a writer as Signor Verdi its representative. Italy, like every other country, would derive more honour from truth, which would set him down as a wretched corrupter of music, who is neither an able follower nor a respectable originator. The best Italian school, though it too frequently sacrifices sense to sound, has a lyric beauty, a spontaneous and natural flood of melody, a vocal excellence, whether in solo or concerted pieces, which, though upwards of fifty years of age, he has not yet shown in any of his works, and, in our opinion, never will. The most vulgar tunes, made up of shreds and patches indiscriminately taken from the works of others, and scored in the most common-place and ignorant manner, make up his sum of excellence; which, added up with scrupulous care, gives nothing as the production. His pathos is maudlin, his passion fustian and bombast; whilst the attempts he occasionally makes at harmonic colouring-one of the grand resources of musical art-evidence nothing but empty extravagance, and a reckless disregard of grammar. They are, therefore, false and contemptible. This we wish to be received as our criticism, not only upon Il Trovatore, but upon every opera of Verdi which has yet come under our notice. The same opinion has been frequently expressed in this journal, and we are willing to stake our professional credit upon its truth.

"The popular success of this last, or any production by the same writer, has no influence upon our judgment. 'Jim Crow' was sung in its day in every house and street, and the aura popularis never blew more strongly than it did in favour of that precious inspiration; but our notion of the critic's duty is that he should lead, not follow, the public taste, and that his readers should look to him for instruction rather than unconscientious sympathy.

"The splendid performance of Il Trovatore would have rendered a still worse work (could such be found) very interesting; and we doubt not that it will attract the town for some time to come. Upon this we shall have to speak after the repetition of the opera to-night, and meanwhile will take leave of a subject which we entered upon with reluctance, and quit with pleasure.""

If "R" is really the great admirer of Verdi, for which he would fain pass in the eyes of the world, he has an odd manner of testifying his admiration. First he writes (but is too knowing to send, finot qu'il est ) a satirical diatribe, which can only have one object-viz.: that of turning his pretended idol into ridicule. Next, finding this will not do, he sets to abusing the Morning Post critic. Last, and worst, after abusing the Post critic to as little purpose as he had written (not sent) the letter, he "cuts" him, and encloses the "cutting" to the office of the Musical World. If we had believed that the slashing article of our fashionable contemporary would do Verdi, or his Trovatore, any harm, we should not have reprinted it, even to oblige "R." But we are sure of the contrary.

"R!"-all this shuffling is very injudicious. If you are desirous to dissipate the Verdi mania, which rages among our "bottes vernies," you must adopt some other plan, and not be repeatedly flying in the face of your own arguments. Had you, first of all, instead of reviling the Post critic and his criticism, sent us the "cutting" with a strong word or two in praise of it, why, then, we should have understood your aim, and by declining to transfer the "cutting" to our columns, maintained our own consistency. Magna est veritas. Verdi will prevail, in spite of his enemies-to say nothing of his friends. A man may "froth through ear-ache" (a sly and malicious poke in the side, by the way, for poor Verdi !); but "froth" he even to salivation, he cannot make it appear, by any shift of sophistry, that the music of Il Trovatore is only "froth."

Will "R" be good enough to send us a "cutting" from the Post of the 11th? We should also like to see, as well as the dirty corner," the second article of the Waterloo Bridge critic on Il Trovatore. Perhaps "R" may cut that for us in the bargain.

ERRATUM.-For the 11th of May, 1855, read the 12th-or vice

versa.

WE have refrained from interfering in the dispute between the Master of the Queen's Private Band and certain of its members, from motives which may easily be understood. In the first place, it is no affair of ours; and, in the next, it is the duty of public journalists to avoid personalities, whenever that is possible. We opened our columns to the Messrs. Chipp, M. Sainton, and Mr. Hill, who were desirous of making public the causes of their retirement from the Queen's service, as musicians; and we have stated more than once that the same privilege was at the disposal of Mr. Anderson, That gentleman, however, did not think proper to take advantage of our proffered liberality; but insinuated, through his solicitors, that, though the allegations of the Messrs. Chipp were a series of misrepresentations, he did not consider himself called upon to refute them in the columns of a newspaper. We are unable to fathom the depths of his reasoning; but we apprehend the best place to challenge the accusations levelled against Mr. Anderson would have been that in which they were first published to the world. Nevertheless, the Queen's Bandmaster had a right to his own opinion; and we have been in no way anxious to question it. Now, however, Mr. Anderson has produced an elaborate pamphlet, in which he defends himself with great ingenuity, and charges his opponents (to the whole of whose assertions he gives a plain denial) in their turn. shall not go out of our way to examine this pamphlet, since it is beyond our province to enter into the controversy. No doubt those whom it concerns will exert themselves to place matters in the true light. We have only to suggest, that had Mr. Anderson forwarded his defence to our office, it would have been printed for nothing, in the columns of the Musical World; while, as the matter stands, it must have cost him a good sum of money-almost as much as the difference between four guineas and sixteen guineas, between the emoluments of a "Deputy" and those of a "Principal."

We

We have a word of advice, on the other hand, to offer to some of our industrious correspondents, who seem to hold the Master of Her Majesty's Private Band in no very great esteem or affection. Let them beware, that, in the excess of their zeal to find him wrong in all his transactions, they do not end by making a martyr of him, and thus give him the chance of ultimate canonization. St. Anderson would not be the first unaccountable saint in the calendar. After two very attentive readings, we can really make out no case against Mr. Anderson in the communication from Mr. Hill, which appears in another part of our impression. It was not Mr. Anderson's fault that poor Herr Schroeder begot many children, and died insolvent. By no means; it was Herr Schroeder's. Nor, if Mr. Anderson paid £10 a-year out of his own pocket, for three consecutive years (as Mr. Hill himself informs us), towards defraying the educational expenses of Herr Schroeder's eldest son, at the Royal Academy of Music, can Mr. Anderson be fairly arraigned for claiming the sum of £30, as a just debt due to himself. At least, this seems to us the true logic of the matter.

The case of Mr. Simmons is certainly a queer one; but we consider the Philharmonic Directors, as a body, to be quite as much, nay more, to blame than Mr. Anderson, as an individual. Their winking at the transaction-of the nature of which they were thoroughly aware was anything but creditable to them, as a government appointed to represent and promote the interests of the whole society. They had no right whatever to permit one of their own body to receive the salary of a principal performer, and yet never make his appear

ance in the orchestra. Here it is the shoe pinches ; here it is the other six directors (and their predecessors, in years gone by) are seriously to blame; and for this they should be called to account by the united members, at the next general meeting. The "deputy" system, it is well known, vicious and bad as it is, has long prevailed without opposition; although, we believe, no such flagrant instance of its impropriety, as that in which Mr. Simmons was the sufferer, ever occurred before. Let us hope it may not be allowed to establish a precedent, but that a strongly expressed opinion on the part of the Society, backed by the approval of the entire musical community, may render such questionable dealings impossible hereafter.

M. JULLIEN, who has been spending a fortnight in London, has returned to his estate near Waterloo, in Belgium.

M. HECTOR BERLIOZ has been named Honorary Member of the Academy of Sophia, at Prague.

MR.. EDMUND CHIPP has been appointed organist to the Panopticon, in place of Mr. Best, resigned. A better choice could not have been made.

M. CHARLES HALLE has commenced a very interesting series of performances, under the title of "Pianoforte Recitals," at his residence, Chesham-street, Belgrave-square. One part of the scheme is to introduce on each occasion two compositions of first performance took place on Thursday afternoon. Beethoven, selected from his earliest and latest works. The

SACRED HARMONIC SOCIETY.-The second performance this season of the Creation took place on Friday (yesterday week). The principal vocalists were Madame Clara Novello, Mr. Sims Reeves, and Herr Formes. A more complete and masterly execution of Haydn's popular oratorio has not been heard for several years at Exeter Hall. Mr. Costa, as usual, was the conductor.

MISS STABBACH gave her Annual Concert on Friday evening the 25th inst., at the Queen's Concert Rooms, Hanover-square. favour, and well deserves it, for the unremitting zeal with which This young lady has been steadily gaining ground in public she has prosecuted her studies, and her prepossessing and unaffected manner. Miss Stabbach was assisted by some of the best artists now in London, among whom we may mention Mdme. Fiorentini, Miss Fanny Huddart, Signors Salvi and Belletti, and Mr. Frank Bodda, in the vocal department; and Messrs.. Lindsay Sloper, Li Calsi, Regondi, Distins, and Bottesini in the instrumental. The conductors were Messrs. Ganz and Berger. Mad. Fiorentini displayed her rich, luscious voice to the greatest possible advantage in the air from Maria di Rohan, "Havvi un dio," which was rendered with infinite taste and expression. This lady is greatly improved in style, since she appeared at Her Majesty's Theatre, and her singing produced a marked sensation. Miss Fanny Huddart acquitted herself well of the music allotted to her. Miss Stabbach with true feeling and expression; she was also peculiarly was encored in "Kathleen mavourneen," which she sang happy in Mendelssohn's duet, "May bells," with Miss Fanny Huddart. Madame Fiorentini also met with welldeserved applause in a charming song by Bottesini. Signor Beletti sang a romanza, by Campana, and was encored in Rossini's tarantella, "Gia la luna." Signor Bottesini was encored in a wonderful solo of his own composition, wonderfully executed, but declined the invitation-which, however, Mr. Distin, sen., accepted in his solo on the trumpet. Signors Regondi and Li Calsi were also recalled, but only bowed their thanks. Mr. Lindsay Sloper played the andante and capriccioso, in E minor, of Mendelssohn. It was a real treat to the admirers of good singing to hear Signor Salvi in one of his most expressive arias. The concert was given under the distinguished patronage of the Duchess of Somerset, Earl and Countess Fortescue, Earl and Countess Manvers, Earl of Stradbroke, Lord and Lady Poltimore, Sir Robert Peel, Bart., Lady Thesiger, Lady Davie, Lady Armytage, Hon. A. F. Bampfylde, and Mrs. Buck, &c., &c. The room was crowded in every part.

ROYAL ITALIAN OPERA.

Il Favorita was repeated on Saturday. Norma, on Tuesday, introduced Madame Grisi in one of her most celebrated parts. The theatre was crowded. The excitement, however, was hardly equal to the occasion. We have seldom seen Madame Grisi more passionate and energetic than in the trio of the first act-where the famous "O tremare," produced the usual furore, and was unanimously encored-or more touching and pathetic than in the finale of the second. The instinctive grace and beauty of Madame Grisi's acting in this scene has not been surpassed; and, if the demonstrations were not so boisterous as of old, the impression produced was genuine and profound as ever. She was called forward at the termination of each act, and applauded as became her.

Signor Tamberlik is the best Pollio that ever appeared in England. The part is ungracious, but this fine singer makes it in a great measure pleasing and sympathetic. The first aria is very exacting, without proportionate effect. Bellini was evidently not inspired when he wrote it. Signor Tamberlik, however, sings it magnificently. Mdlle. Marai was charming as Adalgisa. The merit of her acting lies in its becoming unobtrusiveness. She sang well and with true expression. Herr Formes had been announced for Oroveso; but, before the curtain rose, Mr. A. Harris claimed the indulgence of the audience for M. Zelger, who had undertaken the part at a short notice, Herr Formes being indisposed.

The opera was followed by the much-disputed Eva, in which Mdlle. Cerito was as graceful and fascinating as usual.

The announcement of Don Giovanni for Thursday night, with the return of Signor Tamburini (after three years' absence) in his most celebrated part, naturally gave rise to large expectations. Mozart's chef-d'œuvre would once more be represented in a fitting style of completeness, and the lovers of good music would be satisfied. These expectations, however, were in a great degree unrealised. In some respects the performance was admirable, but the directors evidently have no sympathy with Il Don Giovanni, and the whole was anything but satisfactory. This, in some degree, may be attributed to the illness of Malle. Jenny Ney, which brought forward Madame Rudersdorff as Donna Anna, although Grisi and Viardot Garcia were both at hand. But the unsteadiness of the chorus, and the slovenly manner in which the mise-en-scène was managed, were still greater sources of imperfection. The last scene was all wrong. The supper-table was ill-arranged. Don Giovanni was so hidden near the wings that he could neither be seen nor heard, and the band had the stage to themselves. When the ghost disappeared, Don Giovanni had to wait a long time for the demons, and the view of the infernal regions, with the profligate's leap into the flames, was quite discreditable to such a theatre as the Royal Italian Opera. While on this subject we may point out to Mr. Harris-who should remedy these matters-the absurdity of placing Elvira, in the trio which commences the second act, so far out of sight and hearing. Elvira should appear in a balcony, and within view of the audience-otherwise the music goes for nothing.

For more than twenty years Signor Tamburini has been the acknowledged Don Giovanni of the Italian stage. During that period many others-and some of renownhave essayed the character, in Paris and London, but not one has been tolerated. When Signor Tamburini seceded from Her Majesty's Theatre, Mr. Lumley was at his wit's-end to find a suitable Don Giovanni. He found several who could sing -not one who could act it. The impersonator of the Spanish nobleman must be "native and to the manner born." Signor Tamburini alone, among all that have appeared since Signor Ambrogetti, possessed the indispensable qualifications; and, although quite aware that he was not the Tamburini of old, the directors of the Royal Italian Opera were justified in re-engaging him to play the part. The announcement of Tamburini as Don Giovanni, with Lablache as Leporello, and Mario as Ottavio, must have had more than ordinary interest for the ancient habitués of Her Majesty's Theatre, who were

thus enabled to recall, in some measure, those golden days when the three great artists were in their zenith. Grisi, as Donna Anna, would have rendered the "memorial tableau" perfect. This, however, was too much to expect in the course of her farewell performances. It was a matter for regret, nevertheless, that it could not be. Mademoiselle Jenny Ney's illness, under these circumstances, was the more to be regretted. Madame Rudersdorff has voice enough for the music; but her tendency, in almost every instance, to drag the time, militated against her own efforts and the efforts of those with whom she had to sing. It is not agreeable to be compelled thus to speak of a very clever artist, but truth is truth, and Madame Rudersdorff will do well to rid herself of this defect. The most irreproachable performance of the evening, as far as singing went, was Madame Bosio's Zerlina, which was exquisite from first to last. She was encored in "Batti, batti," "Vedrai Carino," and in the duet, "La ci darem," with Signor Tamburini, which she sang with a charm of voice and truth of expression that left nothing to desire. A more beautiful example of pure and unaffected singing was never heard than her the coldest season we can remember to ecstacy. But not only "Vedrai Carino," which raised one of the coldest audiences of did Madame Bosio sing delightfully-which surprised no oneshe acted with a vivacity and spirit that astonished those who had seen her in Matilda di Shabran and Il Conte Ory. Nothing could be more full of life and meaning than her bye-play in Batti, batti," "Vedrai Carino," and "La ci darem," into which she infused a sprightliness that declared nothing less than the genuine gift of comedy. A lady of so much intelligence cannot fail to catch something from her association with such an actor as Tamburini; and the oftener she appears with him in the same opera the better.

66

Mdlle. Marai sang the music of Elvira admirably, and acted with great discrimination. She has, nevertheless, hardly power The grand and difficult air, enough for some of the music. "Mi tradi," was her best performance. Signor Mario was the Don Ottavio, and, in the famous "Il mio tesoro," sang with inimitable grace and expression, eliciting the loudest encore of the evening. Sig. Lablache would be entitled to unqualified praise if he showed a little more reverence for Mozart, and did not try to burlesque the last two scenes. Even he is not too old to learn. Of Signors Tagliafico and Polonini, as the Commandant and Masetto, we can only say, it would be difficult, if not impossible, to find their superiors. The band was magnificent. The minuet in the first finale was admirably executed by Cerito and M. Desplaces. Her Majesty, Prince Albert, and a numerous suite, were present at the performance.

HARMONIC UNION.-The performance of this society, on Wednesday evening, in aid of the funds of the West London Dispensary, consisted of Mendelssohn's oratorio, Elijah. We were sorry to remark that the attractions of the programme, and the beneficent purpose for which the society assembled, failed to command a fuller attendance, the Hanover Square Rooms not being more than half full at any period of the evening. The performance itself was highly satisfactory, and although there were no encores, there was considerable applause at times, both principals and chorus exerting themselves to the utmost, under the admirable guidance of Herr Molique. The principal singers were Miss Stabbach, Mrs. Lockey, Miss Lascelles, Miss Wilson, and Messrs. Belletti and Reichardt. Signor Belletti gave his recitatives with much vigour and emphasis. His pronunciation was remarkably good; instances of which were revealed in "Call him louder," the air "Draw near, all ye people," in the first part, and "It is enough, O Lord," in the second. Herr Reichardt sang the tenor music most admirably, and was frequently applauded. Miss Stabbach (who is progressing rapidly in popular esteem) and Mrs. Lockey both sang remarkably well, and the latter was deservedly applauded in the air " O rest in the Lord." The choruses went very steadily, and Herr Molique conducted in the most efficient manner throughout.

Mr. Potter's fine symphony-composed many years ago for the Philharmonic Society, and of which we have frequently spokenwas well played. Herr Wagner took great pains with it. The symphony of Mendlessohn was worried by the new conductor in a pitiless manner. The whole performance of this grand work was unworthy of the society.

M. Sainton triumphed over all the difficulties of Beethoven's violin concerto in masterly style, and introduced the same cadenzas which we have already had occasion to praise. We never heard this accomplished violinist play more admirably. He was applauded enthusiastically. Nothing, however, could have been more imperfect than the orchestral accompaniments. The two overtures were both very satisfactory, and the vocal music was good. Herr Formes was in splendid voice, and Mad. Bockholtz-Falconi, a soprano singer already known in England, made a favourable impression in both her songs. Her voice has an extended compass, and is much stronger than sweet.

We are glad to find M. Sainton once more at the Musical Union, and playing so finely as he played on this occasion. Spohr's magnificent double quartet was a real treat to connoisseurs. MM. Sainton, Cooper, Hill, and Piatti (who played the “Haydn ”) took the first quartet, and MM. Goffrie, Carrodus, Webb, and Paque, the second. The performance was remarkably effective.

Beethoven's early pianoforte trios are of course bagatelles to M. Hallé, who, nevertheless, does well to bring them forward now and then.

Ernst appears at the fifth matinée.

MR. ELLA'S LECTURES.

MR. ELLA, director of the Musical Union, has been giving a series of lectures at the London Institution (Finsbury), of which the following is a synopsis:

erbeer (2), Rossini (1).

Stevens, Graun, Mendelssohn, etc., etc.

trina (2), Mozart (1), Luther (1), Mendelssohn (1), Himmel (1), MeyNo. 1. April 10th.-Devotional Music. Illustrations from PalesNo. 2. April 23rd.-On Secular Vocal Harmony. Madrigals, Glees, Grave Songs, Part Songs, etc., Illustrations from Festa, Ford, Webbe, No. 3. April 30th.-Pastoral Music. Illustrations. Adam de la Halle (1285). Haydn's Minuets played by the Waits. Neapolitan and Roman Pastorals adopted by Händel in the Messiah. Corelli's Pastorale. Mendelssohn (1), Haydn's Seasons, Auber (1), Meyerbeer (1), Mozart (2), Beethoven (3), Rural and Rustic, Rossini (2.)

No. 4. May 7th.-Dramatic and Characteristie Music.Illustra

tions. National Anthems (2). Harmonious Blacksmith, a French Song, 1532 (1). Haydn's Surprise and other Symphonies (2). The Moonlight Sonata by Beethoven (Introduction). Picture Music in Deborah, Judas Maccabeus, Il Pensieroso, etc. Descriptive and Imitative Music, Freischutz, L'Allegro, etc. Imagination and Fancy. Duets in Freischutz, and La Gazza Ladra. Opposite sentiments expressed together in music. Trio and Grand Finale in Spohr's Zemir and Azor.

No. 5. May 14th.-Dramatic Music, Vague, Supernatural, Faëry, and Descriptive. Illustrations from Gluck's Iphigenia in Tauris. Ghost scenes in Don Juan. Witch's scene in Faust. Invisible Spirits and Incantation scene in Freischütz: Invocation, Symphony, Chorus, and Song, in Robert le Diable. Faery Chorus, and Song of the Mermaid in Oberon. Harold and Meyerbeer (2), Chorus of Skaters, etc. No. 6. May 21st.-Analysis of Scenes in Guillame Tell, Pastoral, Imitative, Descriptive, Local, National, Sacred, and Characteristic. Rural Introduction. Ranz des Vaches. Chorus and Sestetto. Symphony of Peasantry coming to the Fête. Prayer. Waltz and Chorus. Hunter's Chorus. The Curfew. Romance. The couleur local explained of the Music of the Canton of Unterwald, Schweitz, and Uri. The Oath, Storm, and Prayer of Tell's Mother, and Chorus of Peasantry. Finale. Liberty.

The principal vocalists were Miss E. Birch, Miss Lascelles, Mr. D. King, Mr. Howe, and Mr. Smithson, with a semi-chorus of ten ladies and gentlemen from the Royal Italian Opera. Accompanyist at the piano, Mr. Kiallmark. The lectures began each night at seven o'clock.

They were eminently successful, and the theatre was crowded nightly. Mr. Ella speaks well, and with confidence. How he can write, when music is the subject, it is unnecessary for us to add. There is a probability of the lectures being repeated in the West End, and a probability of their being printed; but these are only probabilities.

MISS MESSENT invited her friends to a morning performance of vocal and instrumental music, at her residence in Hindestreet, on Saturday last. She was assisted by Misses Huddart and Elster, Mad. F. Lablache, Messrs. Alfred Pierre, John Messent, vocalists; and Mr. Brinley Richards (piano), and M. Kettonus (violin), instrumentalists. Among the features of the concert were, the song of "Fairy Land," the composition of Mrs. Maberly, admirably sung by Miss Messent, and Mr. Brinley Richards' solos on the pianoforte, which were performed in his

best manner.

ST. MARTIN'S HALL.-A grand performance of Mr. Henry Leslie's oratorio, Immanuel, in aid of the funds of the Home for Distressed Gentlewomen, was given on Wednesday evening, under the direction of the composer. The soloists were Madame Clara Novello, Miss Dolby, Miss Amy Dolby, Messrs. Sims Reeves, Herberte, and Weiss. The orchestra comprised the principal performers of the band and chorus of the Royal Italian Opera and the Philharmonic Societies, assisted by members of the Sacred Harmonic Society. The hall was crowded, and the performance evidently successful.

NEW BEETHOVEN ROOMS.-Mr. H. C. Cooper's series of three soirées were brought to a termination on Wednesday. The vocalists were Miss Milner and Mr. Herberte; the instrumentalists, Miss Emma Busby, Mr. Sterndale Bennett, Mr. Cooper, Herr Kreutzer, Mr. Webb, and Mr. Lucas. Four quartets were performed-Haydn's in G, No. 81; Mozart's in D, No. 7, and in G minor, for piano, violin, viola, and violoncello; and J. L. Egerton's in B flat, No. 1, Op. 122. Mozart's two divided the proachable. Equally good was the execution of the No. 7 in D applause. In the pianoforte quartet the executants were Messrs. Bennett, Cooper, Webb, and Lucas. The performance was irrein which Mr. Cooper held the first violin. The Allegretto was Beethoven's trio for pianoforte, violin, and violoncello, was also played by Miss Enima Busby, applauded by the whole room. Mr. Cooper, and Mr. Lucas; and Mr. Sterndale Bennett introduced a very interesting solo of his own composition. Miss Milner sang "Bid me discourse" very nicely, but was less effective in "Robert, toi que j'aime." This young lady should adhere, for the present, to the English school. Such talent as hers should not be misapplied. The room was tolerably full.