"In these latter days it seems that men wilfully close their eyes to the difference between meum and tuum. The task of making the distinction is left to the lawyers, who undertake to defend the conscience at the expense of the pocket. It appears to us that the respectable body of music publishers is remarkably blind in the sense we allude to. As soon as a publisher discovers that the law cannot punish the pirates who take his works, owing to the imperfections of an old Act of Parliament, he is immediately stripped by his friends, who divide his property among them. Now if this principle were acted upon by every one in every position of life, it would certainly be rather awkward for some of us. For instance, if the Act of Parliament which makes pocket-picking criminal were suddenly found to be defective, what would become of our purses and handkerchiefs? We should shut ourselves up for fear of being robbed by our friends. And yet there would be nothing more un-neighbourly in taking a man's purse than in purloining any other article of his property, even if it be an opera. He has paid for both; but while the law does not recognise the simple act of furtively possessing yourself of a cotton handkerchief which belongs to another, it winks at the appropriation of a copyright worth a hundred times as much to the proprietor. It thus becomes a rule of trade to lay hands upon every bit of musical property appertaining to one's neighbour." Now, who in his senses can find a libel against Messrs. Jullien, or Messrs. anybody, in the above? If libel at all, it is a libel against human nature generally; and never was the philosophic definition of Thomas Hobbs of Malmesburythat, "A state of nature is a state of war, every man warring against every man' -more aptly exemplified in a small way than in this battle of the music-sellers. If Messrs. Jullien have any cause to be offended we can only trace it to the second paragraph, which ran as beneath: "Messrs. Jullien, for example, have reprinted the Wedding March and Scherzo from the Midsummer Night's Dream, which Mendelssohn disposed of to the Messrs. Ewer in this country. The "new" edition, however, is a shabby one, and they who look out for bargains in the purchase of stolen goods will be disappointed. We, therefore, advise professors and amateurs to support the bond-fide proprietors for their own sake no less than for that of Messrs. Ewer." But when we inform our readers that the republications in question were sent us for review, it surely exonerates us in a great measure, if not completely. We were asked for our opinion, and we gave it. We own that we were desirous of placing additional emphasis upon its expression; and we therefore assigned it a short "leader," instead of an ordinary paragraph, under the head of "Reviews." We pronounced the edition of Mendelssohn's music to A Midsummer Night's Dream "a shabby one;" and we adhere to that opinion. It is not merely a "shabby" one, and a part of it reprinted from old and worn-out plates, ill-punched at the outset, but it is also incomplete, the vocal pieces and the melo-dramatic instrumental music being omitted. With these facts before us, and the complete edition of Messrs. Ewer on our table, for which scarcely half the price of the incomplete and "shabby" one is charged, were we not justified in letting our readers know which was the best of the two, and which they would do wisely to purchase the complete and good-looking original or the incomplete and ill-looking counterfeit ? "Five shillings to one on't, with anybody that knows the statues!"* If Messrs. Jullien, however, conceive themselves injured (much more libelled) by the metaphorical allusion to "stolen goods"—which is simply in keeping with the preamble of the article, like the bit of color in the corner of a picture that helps to impress the beholder with a sentiment of the predominant tone-we are happy to express our regret for having made use of it, and to assure our worthy correspondent, who represents them, that we had no intention of conveying anything whatever derogatory to the honour and * Dogberry. integrity of the firm as a firm, or of its individual members as gentlemen and men of unblemished character. This is our apology, which, we repeat, is offered with all sincerity. It was not our wish to reflect upon individuals, but upon a law which we thought it our duty to criticise as vague, and a decision which, as loyal subjects, we conceived we had good reason to pronounce illogical and unjust, leaving those who might hold an opposite opinion the undisputed right of maintaining it, and of ignoring or condemning ours. **Since the above was written, another communication from Mr. Arthur Chappell has been addressed to the publisher of the Musical World. It consists of a letter and an enclosure, Here is the letter:John Boosey, Esq. DEAR SIR,-In answer to your favour received on the 9th instant, I beg to say that unless the enclosed paragraph, or a similar one to be approved of by me before its publication, be printed as an editorial article in the same part of the Musical World as the attack on our house was printed in last Saturday's number, that I shall without further notice give the matter into our solicitor's hands to commence an action, as I consider the attack so unjust and so clearly libellous as not to be passed over without due apology.-I am, dear sir, yours truly, 214, Regent-street, Wednesday evening. July 11. ARTHUR CHAPPELL. (For Jullien and Co). We have great pleasure in complying with Mr. Arthur Chappell's demand, and at the same time beg to tender him our thanks. He has saved us the trouble of wording an apology-always a disagreeable task for an independent editor. We shall endeavour for the future to be less "incautious;" and should our enthusiasm, in an unguarded moment, be again permitted to outrun discretion, and an apology be required of us at the hands of firms imagining themselves insulted by insinuation-firms not understanding metaphor-we shall apply to Mr. Arthur Chappell to throw it into shape for us. We could never even say "Peccavi," much less write it; but, though as valiant as ancient Pistol, we are also as wise; and to appease such a Fluellen as Mr. Arthur Chappell, brandishing in his anger the trenchant "haudegen Chancery Lane, we willingly eat the leek. 29 of And now to eat it. (It tastes very bitter.) [Paragraph to be inserted in Musical World, July 14th.] copyright, we incautiously wrote the following paragraph:In our impression of Saturday last, in an article on musical "Messrs. Jullien, for example, have reprinted the Wedding March and Scherzo from the Midsummer Night's Dream, which Mendelssohn disposed of to the Messrs. Ewer in this country. The "new" edition, however, is a shabby one, and they who look out for bargains in the purchase of stolen goods will be disappointed. We, therefore, advise professors and amateurs to support the boná-fide proprietors for their own sake no less than for that of Messrs. Ewer." It having been pointed out to us that the remark "the new edition is a shabby one, and they who look out for bargains in the purchase of stolen goods will be disappointed" as referring to Macfarren's edition of Mendelssohn's works is untrue, as we find the pieces are very correct and well printed, and also conveys a most unjust imputation on the firm of Jullien and Co., and one calculated to injure their reputation as music publishers, we beg to withdraw it with an apology for its careless insertion. Nevertheless (we appeal to Messrs. Ewer), the edition of Messrs. Jullien is a somewhat "shabby" one, after all; and (we appeal to Messrs. Jullien) that of Messrs. Ewer is unquestionably more complete. Be chesm! Our heads be upon it! We speak as Reviewers." WITH all our admiration of Mr. Ella, Director of the Musical Union, we cannot get rid of the conviction that his eloquence is greater than his tact. His last "Record" (July 10) proves this triumphantly. As usual, Mr. Ella sets himself before the world as an example of immeasurable "Were it possible to collect the candid opinion of all who attend wisdom, from which his universally erring fellow-creatures performances of music, as to their preference of particular composers may well be content to gather experience. At the same and players, we should find little agreement; and this want of agreement, in persons of superficial knowledge in art, may often be traced time, strange to say, the Director himself has been led into to the influence of the most accidental and trivial circumstances. Nor what the uninitiated may probably regard as a blunder. All are all professional men exempt from partiality to favourite styles of the world knows that Meyerbeer honoured one of the recent music and playing, owing to the influence of education, and often, we An eloquent commentator on sittings of the Union with his presence; and that, in order to fear, to jealousy of a rival's success. confer the highest possible distinction upon his renowned remarks:-I have rarely met with an artist who was not an implicit poetry and painting, speaking of the judgment of some painters, thus visitor, Mr. Ella placed him in close propinquity with a admirer of some particular school, or a slave to some favourite manner. bishop, an archbishop, and a director (Mr. Ella). And lest we They seldom, like gentlemen and scholars, rise to an unprejudiced and should not be aware of this, the Director has taken extra-liberal contemplation of true beauty. The difficulties they find in the ordinary pains to make it notorious. He informs his patrons that self love and vanity lead them into an admiration of those strokes practice of their art, tie them down to the mechanic; at the same time of the pencil which come the nearest to their own. I knew a painter at Rome, a man of sense too, who talked much more of Jacinto Brandi, than he did either of Correggio or Raphael.'-how truthfully these words express the daily experience of our relations with musical professors!—the antagonism of opinions on the ideal and mechanical— genius and acquirements! that "The imposing presence of the illustrious Meyerbeer, at our last matinée, for a while seemed to unsettle the performers; but nothing could well surpass the admirable ensemble of the Adagio, and the subsequent movements of Beethoven's difficult Quartet in E minor, and the début of the lady pianist was a complete triumph." Which can only be translated by the fact that the first movement of Beethoven's quartet, and the whole of Spohr's, were not well played by MM. Ernst, Cooper, Hill, and Piatti. If this was really the result of their being startled and "unsettled" at the sight of Meyerbeer (who is not so formidable, after all, to look at), we think Mr. Ella should have left it to be recorded by the newspaper reporters, whom he so humanely accords free admission to the performances of the Musical Union. That is what we (if we had the courage) should have been left to say supposing we had discovered it. Such a mode of paying a compliment to the great composer, at the expense of his brother musicians, and of historical accuracy, is unworthy one who, whatever his merits as a critic, has never shown himself very deficient as a rhetor. But, on reflection, our anxiety to catch the learned director out in an error (we confess his infallibility gives us umbrage)-however venial-has led us to overlook the obvious cause of this flaw in the entire and perfect chrysolite. Homer nods. Ella's flights into the sublimer regions of connoisseurship, known among the initiated under the title of " Esthetics," are not to be accomplished without some tumbles into the slough of ineptia (the word is your's, Ella; we claim no copyright in it-use it at your leisure). Then-especially in this instance, supposing the flights governed by the very natural law, that the higher they soar the lower the reactionary plunges-must we be fully prepared for any amount of wanton error, of crass stolidity. After so sublime an outburst as that which commences last week's synoptical analysis: "Tone for the million! Style for the westhetic few! Novelty for sensation! Experience in catering for the musical tastes of different persons, soon proves the truth of these hackneyed aphorisms-" we ought not to be astonished at a less transcendent sequel. Mr. Ella has a singular itch for insinuating that the musical artists he employs are less "perfect wholes" than himself. For example: "Our beau-idéal of perfection in all styles is never attained by any single artist, and the wisdom of practical philosophy teaches us to appreciate and be content with the intentions of a great and conscientious executant." When Mr. Ella asks the realisation of his (Ella's) "beau idéal" from a human fiddler, he asks too much. To find it, he must repair to the spheres, on the wings of his own eloquence. Critics, too, and professional men generally, are unfairly rated by the Director of the Musical Union, because they are not (like himself) infallible. For instance :— We knew a Director in London, who talked much more of himself than the public might care to know-and probably a man of sense too," more or less, like the admirer of Jacinto Brandi. But what of that? We cannot all be unutterably sage; we cannot all be without motes and moles-immaculate-as Ella, and the man of Hamm. Out of the pale of "the books" it is barely practicable to excel. Let there, then, be charity. The director of the Musical Union reckons charity among his virtues, but gives foreigners the exclusive benefit of the account. He extends it especially to Richard Wagner : "My only interview with Wagner, at Dresden, in 1846, impressed me with profound regard for his talent. I had already visited young Roeckel, and found him in ecstasies over the full partition of Wagner's opera Tannhäuser. I regret that on each visit to Dresden I was either Wagner's operas, but from a slight investigation of his last production, too late, or too early in the season, to witness the performance of with a German musician, I must honestly confess that I found no very captivating melodic forms; but frequent progressions of vague harmony, that suggested nothing to my mind-nay, to my ears, the succession disagreeable. It is true, that in the latter works of Beethoven and also of unexpected transitions and extraneous modulations was positively in Mendelssohn, I could select a few examples, with direful collision of dissonant intervals; but the design of the composer is always apparent. Recollecting the fate that has attended the early efforts of all original composers, I am reluctant to express an opinion on the operas of Wagner, without witnessing their representation in a theatre." Thus, for the nonce, the "future" man is saved. Mr. Ella (having expressed a strong opinion just before) declares that he is "reluctant to express an opinion without," etc. If Richard Wagner had known this, he would not have quitted England so precipitately. But, further on, Mr. Ella waxes "kinder, and still more kind:' "Those who have enjoyed the society of Wagner, during his sojourn in London, entertain a high opinion of him, both as a man, scholar, poet, and musician! His theory upon the agreement of words and music, in a lyrical drama, is, in the main, true; but untenable in some particulars. If Wagner be unable to realize practically what he has endeavoured to expound as the 'aim and object of music,' it is a pity that in his critical remarks upon other composers he did not confine himself to the abstract question of his thesis. To my thinking, there is much to be admired in his general observations, which are not new, upon the progress of the lyrical drama, and no branch of the art is capable of more improvement. What but the consistency and historical interest of the dramas of Les Huguenots, Le Prophète, and L'Etoile du Nord, give to Meyerbeer's music such a hold upon the public mind throughout Europe?" This will be satisfactory to all who have considered it their duty to arraign Herr Wagner as an enemy to music, since, in his defence, Mr. Ella plainly demonstrates that he knows nothing at all about "the theory" which is "in the main Europe, nor the honours which have been bestowed upon him by the great ones of the earth, have been able to overthrow; his disinterestedness of mind, his scrupulous honesty, have long procured for him the esteem and affection of all who know him. And the personal virtues of this artist-as amiable as he is distinguished-must charm even those of the estimation in which he is held as a distinguished composer, and of the esteem which, as a man, is so universally felt for him.'-The good opinion of so excellent a man and so celebrated a musician is to be prized, and I doubt not but the members of the Musical Union will sympathise with my feelings in receiving permission to publish his generous appreciation of my exertions in the cause of art." true" or why does he cite the operas of Meyerbeer and their popularity, as examples of its correctness. Had Mr. Ella, before writing such a quantity of nonsense, taken the pains to read our own translations of Herr Wagner's most comprehensive book-Oper und Drame-who envy him his fortune and his fame. In short, he is fully deserving he would have learnt that the Meyerbeer-opera is attacked by Herr Wagner with unparalleled virulence and animosity, as the culminating point of that error which debased dramatic music from the outset-in short, as the most untrue and hideous shape that the musical art has been made to assume in connection with the drama. Meyerbeer himself is slandered with as much rancour as Meyerbeer's music is abused. He is proclaimed a "Jew"-and being a "Jew," everything that is bad, from a thief downwards. And yet, just after Meyerbeer's visit to the Musical Union (of which Mr. Ella takes full advantage to aggrandise himself), our director thinks fit to publish in his programme a sort of half-defence, half-panegyric, of the bitter and unscrupulous hater of that celebrated musician-hater, we repeat, since Wagner does not so much criticise Meyerbeer as express his loathing of him through the medium of a pen nibbed by a dagger and dipped in poison. But Mr. Ella is not merely ignorant of Wagner's theories; he was never even present at a concert where Wagner conducted! "As a conductor of overtures and symphonies, Wagner is accused, by the majority of my musical acquaintances, of changing the time and expression of the music at the Philharmonic Concerts. Whatever may be a man's theory, it should not be permitted to interfere with our satisfaction in listening to the works of others. I did not witness his mode of conducting, but instead of poor Wagner being exposed to calumny and abuse, for doing what he conscientiously felt to be right, the directors ought to be blamed for engaging a conductor without first ascertaining his qualifications." This "generous appreciation of" Mr. Ella's "exertions in the cause of art" (!) is simply a letter of thanks for the polite invitation M. Meyerbeer had received to attend the concert of the Musical Union, and an expression of the gratification he had derived from the performance. Such a letter should not have been printed, since it was never intended for publication. But, as it served Mr. Ella's turn, he applied to M. Meyerbeer for permission, which the "excellent man and celebrated musician" accorded without difficulty. And in return for his kindness, this "excellent man and celebrated musician," this "amiable maestro," whose "friendship" Mr. Ella has so "long enjoyed," was rewarded by being condemned to see a eulogy of himself and a eulogy of his implacable vituperator, side by side, in the next Synoptical Analysis" of the Musical Union! This is want of tact, and no mistake; and, without entering into further details (for which the "Record" of Tuesday would furnish abundant materials), we may be content to reiterate our conviction that "the eloquence of Mr. Ella is greater than his tact." SIGNOR VERDI is about to visit London-not to witness at The introduction of the word "calumny" in this para Covent Garden the success of his own Trovatore, the pergraph is impertinent. Having confessedly no experience of formances of which have been suspended through the deparhis own, upon which to found an opinion, Mr. Ella prefers a ture of Mdlle. Jenny Ney; nor, like Meyerbeer, to supervile imputation against those who, in the free and conscien- intend the rehearsal of a new opera; but simply on private tious discharge of their duty, have criticised Herr Wagner business disconnected with stage matters altogether. It is unfavourably. Herr Wagner has been exposed to no ca- not unlikely, however, that, while remaining here, overtures lumny. He has been condemned in this country, by the will be made to the Italian maestro by the directors of the best judges, as a composer on false principles of art, and as Royal Italian Opera, about Les Vêpres Siciliennes, his last, an inefficient conductor. What importance we attach, how- and, according to many, his best opera. Signor Verdi, it ever, to the man and to his writings, may be gathered from will be remembered, paid London a visit in 1847, when he the large space we accord to them in our columns, week after composed I Masnadieri for Her Majesty's Theatre, and came week. It is because he is a man of amazing eloquence and from Paris to preside at the rehearsals. But Signor Verdi subtle wit, that we esteem him the more dangerous. To in 1847 and Signor Verdi in 1855 are two different perignore Herr Wagner, and his opinions, would be pre-sonages; as different as I Lombardi and Ernani from posterous. To endeavour to expose their falsehood, is the task we have undertaken; and we shall pursue it to the best of our ability. On the very next page to that which contains the defence of Wagner (which may be likened to the Encomium of Nero, by a greater scholar, if not a greater sophist,* than Mr. Ella), we find the following about the man whom Wagner has persecuted in his writings with such unrelenting ferocity-we mean Meyerbeer : "I have long enjoyed the friendship of the amiable maestro, and the honour of his visit to the Musical Union afforded me an additional mark of his personal esteem. His true character, as a man, is impartially described in the concluding chapter of Mr. Gruneisen's Memoir, from which the following extract is taken :-The natural benevolence and mildness of his character; his agreeable and amiable behaviour to everybody; his modest and reasonable estimation of his own powers, which knows no pride of wealth or professional eminence, no jealousy of others; and which neither his celebrity, spread over the whole of * Cardan. Rigoletto and Il Trovatore. Whatever minute distinctions of opinion may exist as to the "absolute" merits of the Italian composer, his great popularity would alone ensure him marked attention during his sojourn in this metropolis, where so many of his operas have been successfully performed. ERNST leaves London to-day for Aix, in Savoy. He will not return to England before the end of October. MRS. NISBETT.-Lady Boothby has written to the Times, to state that the report of the return to the stage of Mrs. Nisbett is wholly untrue. Mr. W. FARREN, who has, for upwards of fifty years, maintained so eminent a position on the English stage, will take a farewell benefit at the Haymarket Theatre on Monday evening, and then retire altogether from public life. MR. RICHARD ROBERTS.-Welsh papers announce the death of this Welsh harpist, who, for upwards of fifty years, enjoyed the title of "Prince of Song," and the distinction of being the chaired monarch of harpists. THE PHILHARMONIC SOCIETY. (To the Editor of the Musical World.) SIR—The bubble has burst! The general meeting of the Philharmonic Society has taken place. Twenty-five members were present. Questions were put and answered. As was anticipated, nobody knew anything about anything; and the result may be illustrated by the old symbol of the small mouse which issued from the belly of the big mountain in labour ! The meeting took place on Wednesday night. Mr. Costa came early and looked prophetic. Mr. Benedict appeared wrapped in a cloud of mystery. Mr. Lindsay Sloper, with many papers, encouraged a hope that he was prepared to say no end of things—the act to follow the word, as thunder the lightning. Messrs. Lucas and Clinton seemed as though something were "looming" in the distance, not very pleasant to themselves-in expectation, as it were, of being placed upon the wheel and interrogated. Mr. Sterndale Bennett entered, like Pistol, in the play, and—to speak in metaphor-placed his sword upon the table, saying: sweetheart, lie thou there. Beau perhaps). Every German "Doctor," from Spohr of Cassel down to Liszt of Weimar, was to be asked, in turn, to undermusical men who live in this metropolis was never practised take the post! Such a gross insult to the many eminent before, and let us hope may never be tried again. The The "accounts" passed muster, in spite of all this. Herr Wagner got £200; and Mr. Anderson's expenses to Zurich loss on the season was between £500 and £600. And yet and back again (in the snow) amounted to £30 more. three of the managing directors were retained in their places consistent, declined in advance to serve. -Messrs. Anderson, M'Murdie, and Lucas. M. Sainton, more Mr. Sterndale consistent, declined in advance to serve. all reason, accepted office under Mr. Anderson and tail!* Bennett, contrary to all expectation and in defiance of What, then, has all this pother been about, since Mr. Bennett was last a director? For what have Mr. Bennett's stanchest friends and supporters exposed themselves on hardened to surprises; but such an "interrupted cadence" his account to obloquy and worse? We are pretty well has fairly upset us. Mr. Bennett will answer, that, having eighteen votes, he was at the head of the poll, and therefore over, not under, Mr. Anderson and tail; but that is little to the purpose; "over" or "under," it is pretty well agreed, on all sides, that Mr. Anderson "Director," means Mr. Anderson" Autocrat"-in plain language, undisputed master of the society and its affairs. It was so when Mr. Bennett was director before; and will be so now that he is director again. Mr. Bennett, on laying his sword on the table, declined (like M. Sainton) to accept office. But on some trivial objection, which he stated as the reason of his unwillingness, being removed,† he took up his sword, as we have said, coquetted for a while, at length relented, and, like Donna Julia, Come we to full points here; and are et ceteras nothing ?" Mr. Anderson was there, M. Sainton, and the rest. But enough of names. Deeds ought rather to be on the tapis. It should be our grateful task to announce reforms, to predict the renovation of the Philharmonic Society, to reckon upon all sorts of fine things. Alas!-the whole ended in smoke. We have nothing to record worth telling. There was a great noise and a vast amount of talk. But talk is only a tinkling cymbal when the words express no real sentiment. coup de bruit peu de fruit, is an old saying, often quoted, and exemplified on the present occasion to perfection. Mr. Bennett had laid down his sword to take it up. "Whispering, 'I will ne'er consent,' consented! He did not "imbrue." There was no "incision." There were once more a victim to the blandishments of the Philharno "grievous ghastly gaping wounds;" the "sisters three" were not "untwined;" all was in the end "sack" and "good-heights of stern uncompromising patriotism down to the monic Don Juan. Thus fell Mr. Bennett, from the rocky humours." Mr. Bennett took up his sword, sheathed it, cried Pax vobiscum! and allowed himself to be elected soft plains of enervating serfdom. Dallying with despotism DIRECTOR, with eighteen white balls by the side of Mr. G. he was entrapped, and like Telemachus laid his head on the lap F. Anderson, reappointed with fifteen! O tempora !-0 mores!-0 Sterndalius Bennetus!! &c. A The other five directors for the ensuing campaign are Messrs. M'Murdie, J. B. Chatterton (O Chattertonius !) Lucas, H. Blagrove, and From this directorate we have not the slightest hope of any good ensuing. There is too much of the ancient leaven. It is another shift of the puzzle, and another configuration of the mismanagement of our musical Greys and Elliots. has been so disastrous to the band. And what did Mr. of the enchantress. Well would it have been for Mr. Bennett The result of the meeting may be briefly summed up. The whole proceedings were a mockery. Of course questions were asked about Richard Wagner, whose conducting Nothing, however, was elicited but this-that he was proposed by Mr. Clinton and seconded by Mr. Lucas (or vice versa), and that Messrs. Lucas and Clinton, although they proposed and seconded him, had never heard of Herr Wagner before! This, on cross-examination from the gentleman who arrived so hotly to the debate, so hotly disposed his sword upon the table, and so coolly took it up again, was acknowledged without a blush! But still worse, without a blush, six directors out of seven confessed that it had been unanimously agreed among them to invite no resident professor, native or foreign, on any account whatever, to direct the concerts. So that if Mr. Anderson had failed to noose the "Man of the Future," there would have been no conductor at all (tant mieux-meetings of directors took place on Sundays. + Mr. Bennett's only objection to resume office was that the private and to alter the laws. Until this has been effected So that * Accepted office under, &c. The expression will readily be understood. but, when November comes the seven directors may meet together, shake hands, proceed to business in the old style, and following the stereotyped routine which has brought the institution almost to the brink of ruin, discuss how best to employ the £2,400 which remains in the treasury. Out of nothing can come nothing. Those who feel any interest in the Philharmonic Society will regret that it has reached such a pass; while, on the other hand, those who are indifferent, and prefer to hear symphonies well played (under Mr. A. Mellon), at St. Martin's Hall, to symphonies ill played (under anybody), in the Hanover-square Rooms, will shrug their shoulders, and ask-" After all, what is the Philharmonic Society, that such a fuss should be made about it?" The answer is evident. The Philharmonic Society was once an exceptional institution; but M. Jullien has taught the crowd that they can hear, for a shilling and half-a-crown, several times during the winter season, performances quite as good as those for which the Philharmonic directors charge one guinea. The music-master is abroad; and only a small fraction, a very small fraction of the musical talent of this country belongs to the Philharmonic Society. Its once exclusive claims to consideration are, therefore, dissipated; and, unless Mr. Costa comes forward once more to save it, it must follow the Ancient Concerts and the Society of British Musicians to the "tomb of the Capulets." Mr. Costa, however, may be tired of playing Cincinnatus; besides, he is studying a more profitable and important part. Who then will be conductor next season?"There's the rub!" We will be bound to say that not one of the directors will think of posing Mr. Alfred Mellon; and as Mr. Bennett and Mr. Lucas can neither propose nor vote for themselves (both being directors), the chances are somewhat even for MM. Benedict, Hallé and Molique-that is, unless Herr Wagner returns with the "whole" Niebelungen, (!) or Mr. Costa's oratorio should fail (which may the Muses in a body forbid), and his attention again be diverted from divine to secular harmony; A good deal has been said about M. Berlioz; but, even had not the judgment that "he already lies irretrievably buried under the ruins of his own machines," been pronounced by no less an authority than the ex-conductor of the Philharmonic (Herr Wagner), we could point at once to four directors out of the seven who would inevitably vote against M. Berlioz the "anxious polyscopity" of that original and extraordinary musician being altogether beyond their comprehension. pro AN ENGLISH MUSICIAN. HARMONIC UNION.-(From a Correspondent.)—A Soirée Musicale of the members and friends of the Harmonic Union was held at the Hanover Square Rooms, on Saturday evening, the Rev. F. J. Stainforth, M.A., president of the Society, in the chair. Tea and coffee having been served, a miscellaneous selection of music was given, in which several artists and members of the chorus took part. Madame Weiss sang a new song, composed for her by I. Gibsone-"Sweet hour of eventide." Mr. Weiss gave his ballad, "The Village Blacksmith," and was encored. Miss Stabbach sang two of Molique's songs-" Song for song," and "Could I through æther fly." The former is written for voice, violin or flute, and piano. The distinguished composer played the violin part. Miss Stabbach also sang "Kathleen Mavourneen." Herr Molique played one of his own fantasias. Mr. Rea (the Society's organist) performed a pianoforte piece, which was redemanded. Mr. Blagrove's duo concertante, for violin and concertina, was played by Messrs. R. and H. Blagrove. Mr. Frank W. Force gave Wallace's ballad, "Annie, dear, good bye!" and a song by Molique. The Misses E. and M. Mascall sang "No, Matilde, non morai," and the Jacobite duet, "Whats a' the skeer, Kimmer?" The latter was encored. Songs, glees, &c. were sung by members of the chorus. The audience included many of the Society's subscribers and supporters. REVIEW OF THE HISTORY OF MUSIC BEFORE MOZART. (Continued from page 431). BEFORE Gluck and Mozart, this error was excusable. The Italian opera was the best that was known, or, rather, it was the only one which really was music. The friends of music, therefore, had no choice, and it is something altogether natural to take the best one knows for the best that is possible. But if I hear to-day a national opera music mentioned with a certain pride or a certain patriotic feeling, be it in what land it may, I really do not understand what is meant by it. There are two kinds of music, one of which is always confessedly national, and the other really so; these are popular melodies and the church song. The former, because they are a natural product, and, to a certain degree, the expression of the inner life of the people that sings them, and consequently owe their power, their merit, and their charm to their origin. They possess the virtue of dear and holy images of the fatherland before our souls, the making things present to us, or conjuring spells to summon the moment we hear them in certain situations in which every one may sometimes find himself. The intrinsic matter of a melody exerts no influence on the power of the impression which it can awake as a national song. A Swiss organist, living far away from his mountain, will many a time prefer the "Ranz des vaches" to all the preludes of Bach and Händel. And the same feelings, more or less, are stirred in every man, to whatever recall certain spots that are dear to him above all others, or people he may belong, especially when he hears melodies which events with which they chance to be peculiarly associated in his mind. Quite analogous reasons secure, or should secure, the special organisation of the church song among nations attached to their own cultus. This song may be good or bad music in itself; it passes for the best where it has long existed. Everywhere the spiritual melodies have identified themselves with the national religion; men know them from their childhood; they hear them at the most solemn stadia of life; in them lies the power of awakening, even in the most indifferent souls, the thought of a high and mysterious antiquity, the thought of something that is, and was, and ever shall be. If the hearers are not capable of they feel it in the depths of their hearts as the expression of the appreciating a learned church composition as a work of art, yet Christian thought. Men who assemble for prayer to God, do not learn music with the critical ear of a connoisseur, or with the fastidious ear of a dilettante. Even the best judges, if they are Christians, or have only a little taste, are offended by every distraction which brings them too directly back to their profane enjoyments. A radical departure, therefore, from the church eenth century and in our days-is nothing but a destruction of a melodies-such as, too frequently, was made in the eighttrain of ideas operating in the most compact and powerful manner on the imagination; it is an outright destruction of the poetry of the national cultus. It is not necessary in any other way to establish this maxim, that church music in part derives its peculiarities and its power from its antiquity, whereas in the secular style the converse is the case; it commonly maintains itself by its novelty only. Two branches of music, and indeed just the two extremesthe people's song, in which art stands at zero, and the sacred kind, upon which in some lands all the resources of art are expendedhave thus the right and the necessity of being national, which fortunately exempt them from the tributes other branches pay to fashion. But how do they manage to maintain themselves in this state of stability? As we have seen, by the association of moral of representing. Neither the edification which Christians derive thoughts which they awaken, and which they possess the power from the introduction of church music into their common congregation, nor the patriotic satisfaction with which in certain circumstances we hear our country's song, is a purely musical enjoyment. Armed with its peculiar property of conjuring up the memories with which it is associated, and of enhancing our spiritual emotions, music operates no more alone and through its own peculiar power, but also and especially as the vehicle of an |
