tinguished themselves more highly than the chorus, Mr. Allen especially, who sang the tenor music, which is long and not grateful, with undeviating correctness and true artistic feeling. Mr. Weiss was equally admirable in the bass part, and to his competent charge was allotted what appeared to us (if we may be allowed to judge from a first hearing) the best piece of music in the oratorio-viz., an air to the words "Lord, now lettest thou thy servant depart in peace." The singing of our English bass was as forcible as the music was good, and deserved an encore -though it did not obtain one-much better than any of the pieces that were actually redemanded. The ladies were Mrs. Enderssohn and Miss Bleaden (soprani), Misses Huddart and Palmer (contralti). They all sung carefully and well, and were deservedly encored in a very pleasing quartet (unaccompanied), "Trouble and anguish shall make him afraid." Miss Huddart, who though still nervous, has a fine voice, and is improving, was similarly complimented in a pretty air-" Behold my servant." There were other encores; the applause was liberal and frequent; and at the end of the oratorio Mrs. Bartholomew was conducted to the platform by Mr. Hullah, and cheered enthusiastically-quite as enthusiastically as Mendelssohn, at Birmingham, after the first performance of his Elijah. The Nativity was followed by Beethoven's Mount of Olives, which was executed in a manner vastly creditable to Mr. Hullah and his Upper Singing School, and to the vocalists Mrs. Enderssohn, Mr. Allen, and Mr. Weiss-who undertook the principal solo parts. St. Paul is to be given at the next concert. DRAMATIC. ST. JAMES'S.-The attempt to modernize an ancient Greek drama, to assimilate it to the tastes and feelings of the present time, and, by the aid of music and a change of scenery-discarding the preservation of the unities-to render it more interesting and varied, met with entire success at this theatre on Monday night. Of the nineteen tragedies of Euripides which remain to us out of ninety-two he wrote, there is, perhaps, not one more likely to engage the sympathies of modern audiences than Alcestis. On the score of beautiful morality, there is none of the plays of Euripides," says Augustus William Schlegel, in his Lectures on Dramatic Literature, "so deserving, perhaps, of praise as the Alcestis. Her resolution to die, and the farewell which she takes of her husband and children, are depicted with the most overpowering pathos. The poet's forbearance, in not allowing the heroine to speak on her return from the infernal world, lest he might draw aside the mysterious veil which Shrouds the condition of the dead, is entitled to high praise." Nevertheless, Schlegel, following the example of nearly all the Greek critics-among whom is found the celebrated Aristarchus -places Euripides, as a dramatic writer, far below Eschylus and Sophocles. The dramas of Euripides have, however, served more frequently as originals from which the moderns have derived the groundwork of adaptations than those of his more celebrated predecessors. Witness the Iphigenia in Aulis, Iphigenia in Tauris, Medea, Hippolytus, Ion, Alcestes, Andromache, etc. The cause may be traced to the fact, that the plays of Euripides possess more humanity, literally speaking; and, if they were less lofty, were more life-like and real, and come home more directly to the domestic feelings. If Eschylus was the most sublime writer of the three; Sophocles, the grandest and most simple; it may, perhaps, with truth be said that Euripides was the most natural. The Alcestis produced at the St. James's theatre on Monday night is not taken directly from the Greek of Euripides. The French version of M. Hyppolite Lucas has been consulted by the adapter, Mr. Henry Spicer. But, neither the Greek nor the French has been closely followed. Mr. Spicer has departed from the original in several material instances, and, not always, we are inclined to think, with advantage. We shall first give a sketch of the piece as produced at the St. James's, and then show how far the adapter has deviated from the Greek : "Apollo, banished from Olympus, took refuge in the household of Admetus, King of Phere, and served that monarch, in the capacity of a shepherd, for nine years; during which period the disguised deity became so warmly attached to the family of his protector, as to make them, on his recal to heaven, the objects of his continued care. Finding that Admetus was stricken by a wasting disorder, Apollo solicited the Fates in his behalf; and received for answer, that Admetus should not only recover, but should never die-so long as, on the fatal hour approaching, a substitute should be found. No one else coming forward to rescue the fated king, his noble wife, Alcestis, daughter of Pelias, king of Iolchos, generously volunteered to be the victim. In the version of the great Greek author, Admetus, though overwhelmed with sorrow, is induced to accept the noble sacrifice :-a weakness in some measure redeemed, by the generous and delicate hospitality with which he welcomes the apparently ill-timed visit of Hercules, carefully concealing from his hero-guest every trace of the misfortune which has befallen his house and realm." In the original play, Hercules does not arrive at Pheræ until after the death of Alcestis. In Mr. Spicer's version he is made to appear before even Alcestis has made up her mind to offer herself as a sacrifice for her husband. It will be at once seen how much is lost by this alteration. Euripides intends to portray the most noble hospitality on the part of Admetus, who disdains to allow his guest to participate in his sorrows, and receives him with smiles and a hearty welcome, interdicting all his household from acquainting him with the death of the queen. In Mr. Spicer's adaptation, Hercules seeks the hospitality of Admetus, when that monarch is under the influence of fears that he will not find one who will yield up his life in his stead. The spirit of the old Greek dramatists shines out in the former incident. In the latter we recognize a common-place sentiment carried out in a common-place manner. The former is heroism; the latter simply self-possession. in the contest between Thanatos, or Death-denominated in The second principal departure from the Greek story consists the new version "Orcus"-and Hercules, for the restoration to life of Alcestis, being rendered visible to the audience. This is a daring innovation. Death is introduced on the stage, under the semblance of a dark spectre. Hercules confronts him; bullies him; defies him, and retires with him behind the sidewing, whence we hear a dialogue, in which Death is made to succumb to the powers of Hercules, and to swear by the Styx that he will restore Alcestis to life. In Euripides, on the contrary, the feat of Hercules is related, and the dark shade kept out of sight. How much more forcible this is, we need not say. That forbearance, upon which Schlegel bestows such high praise, of not allowing Alcestis to speak on her return to life, "lest," as he says, the poet might draw aside the mysterious veil which shrouds the condition of the dead," has been considered by Mr. Spicer-and, perhaps, not without some show of reason-as too much opposed to the exigencies of the modern stage, and not likely to appeal to the sensibilities, or meet the appreciation of his audiences. We must do the adapter the justice to say, that he has managed the change with much skill, and that the gradual revival of Alcestis to life, the recognition of surrounding objects, and the gush of delight at beholding her husband, are achieved with true poetic feeling. It is not necessary in this place to allude to less important alterations of Euripides, which Mr. Spicer has made in his adaptation of the Alcestis. With respect to the general getting up of the piece, too much praise can hardly be bestowed on the management. The scenery is well painted, the dresses new, appropriate, and, in the instance of the King and Queen, rich and magnificent, and the grouping managed with excellent effect. The set "scena" of the old drama throughout the entire play, with its front and two side entrances, is not followed. Each act has its separate scene, and a greater variety is thereby obtained. Miss Vandenhoff was engaged expressly to undertake the part of the heroine, and Mr. Barry Sullivan had to supply the place of Mr. George Vandenhoff, whom indisposition incapacitated from assuming the part of Admetus. Miss Vandenhoff was earnest and impressive throughout, and in the parting scene with her husband and children, in the second act, displayed great feeling and tenderness. The action of this lady is studied and graceful, and every thing about her proclaims entirely revolting. How different Shakespere paints his villains! Iago exhibits no pusillanimity when confronted with his victims ; Macbeth redeems himself by his glorious death; the chivalrous valour of Richard shines like a meteor through the darkness of his crimes. Louis XI., on the contrary, is hypocritical and grovelling to the end, and fails to exhibit a single quality which would recommend him to the mercy, not to say the sympathy, of the spectators. M. Casimir Delavigne, without being too faithful to history, has aimed to draw a grand historical picture, and, in the opinion of many, he has succeeded. We think, neverLouis XI.-that monarch to whom, with all his faults, France owed more than to any other-as something more like a man and less like a monster. that she has been well instructed. Her speaking, however, is too measured and exact; and what is gained in distinctness is lost in force. Every word, nay, every syllable, is uttered as if life depended on the pronunciation. Miss Vandenhoff was received with distinguished favour, and vehemently applauded in the farewell scene of the second act. Indeed we have seldom seen a greater effect produced in any scene of any play. There was scarcely a dry eye in the house. Mr. Barry Sullivan is not at home in Euripides. The atmosphere of the classic drama does not appear to suit him. He walked through the part of Admetus as if his sole purpose was to exhibit the splendour of his costume.theless, his drama would not have suffered if he had exhibited He had many opportunities for the exhibition of good acting, but did not take advantage of one. He might have been more dignified in the second interview with Hercules-that in which he endeavours to conceal the death of his wife; he might have been Every reader of French history is acquainted with_the infinitely more pathetic in the dying scene of Alcestis; and he treachery and cruelty practised by Louis the Eleventh on John might easily have shown greater ecstacy of delight at the unex-d'Armagnac, Duke de Nemours, and knows how the crafty pected restoration of his Queen to life. Mr. Barry Sullivan, we monarch obtained possession of the person of the Duke by are aware, enjoys no mean reputation as a tragic actor; but his promising him a free pardon; how, instead of granting him performance of Admetus in the play of Alcestis, is not likely to pardon, he had him beheaded, and placed his two youthful sons enhance his fame. Mr. Stuart's Hercules was a vigorous and under the scaffold to catch the drops of blood that fell from graphic performance, and created quite a sensation. He was the father's mutilated body. This horrible incident constirecalled specially at the end of the second act, and tended in no tutes the starting point of M. Casimir Delavigne's drama. small degree to the success of the play. The remaining characters The young Duke of Nemours, who has grown up in were respectably supported. the service of Charles the Bold of Burgundy, is sent to the court of Louis, under another name, as the envoy of that powerful vassal. Louis, discovering who he is, determines to sacrifice him; but the death of he tyrant saves the son from the fate of his less fortunate parent. This is as much of the plot as need be told. The rest mainly developes the ideal of the king, whose vices are laid bare to the audience in a manner certainly more comic than tragic. The aim of the author in every scene, in every dialogue, is to portray the vacillations of Louis, aid to exhibit the most violent contrasts of character. Most of these are highly effective; while some are seemingly violations of truth and nature. For instance, when Louis is about to suggest to his provost-marshal, Tristran l'Hermite, the murder of the young Duke of Nemours, he hears the "Angelus sung in the distance, and breaking off suddenly from his theme, takes off his hat and appears to pray fervently to the leaden image of the Virgin placed in front of it, until the "Angelus" finished, he returns to his murderous designs with equal alacrity as if nothing had interrupted their discussion. The comic expression of Mr. Charles Kean's face in this scene was irresistible, and created roars of laughter. M. Casimir Delavigne, however, who probably intended to paint a true historical picture, desired to represent Louis as superstitious, rather than hypocritical. Nor was the King at all likely to be a hypocrite before his chief executioner. Mr. Charles Kean brings out the comic side of the character elaborately, and by this means possibly saves it, in a great degree, from being odious and insupportable. When Alcestis was first announced, if we mistake not—at least it was understood-that the music would be entirely from Glück's opera Alceste. Instead thereof, we found on Monday night that the music was selected from various works of the German master. The overture to Iphigenia in Aulis preceded the play, and the choruses and entr'-acte music have no connection with each other. Why the music of Alceste should not have been exclusively used we cannot say. The only part of the music taken from Alceste is the opening chorus; the rest is borrowed from Orfeo and Iphigenia in Aulis. Mr. Wellington Guernsey is set down in the bills as "selector and arranger." We think the play would have fared better if the selection and arrangement had been assigned to Sir Henry Bishop, who was engaged as musical director. We are sorry this subject has not been considered of sufficient importance. The music of Glück is too seldom heard in this country; and now, when it is heard, it is to the manifest disadvantage of the illustrious composer. We regret this the more, since so much was done by the management to give it effect. The band was considerably enlarged; sixty chorus singers were provided, and, as we have just said, Sir Henry Bishop was engaged as conductor. We shall probably return to this subject next week. We may conclude with stating that a genuine success was achieved; that all the actors were recalled at the end; and that Mr. Henry Spicer had to bow from his box to a vociferous call made for the translator. Sir Henry Bishop, also, obtained a highly flattering reception on his entrance into the orchestra. PRINCESS'S.-All the world of London is in raptures with Mr. Charles Kean's performance of Louis XI., in the new translation produced at the Princess's on Saturday. The admirers of the actor insist that it is his greatest effort; which is hardly complimentary to one who has won his highest fame in Hamlet. The truth is, that Mr. Charles Kean's acting is so thoroughly artistic, so finished, and, indeed, perfect throughout, as to make us overlook the fact, that the part of Lonis XI. is by no means a great one, and that to give it all the force and meaning the author intended, is anything but exhausting to the actor's resources. M. Casimir Delavigne's celebrated play, faulty in construction, and deficient in incident, possesses no great amount of interest for the general spectator. The character of Louis, however, is depicted in such powerful colours, every phase of it is so forcibly brought out, that it requires an artist of no secondrate powers to endow it with life and reality. M. Casimir Delavigne has painted his hero even in darker colours than history warrants. Louis is represented from first to last without one redeeming quality. His meanness, craftiness, avarice, cruelty, superstition and cowardice an apparent in every scene; and were it not foran under-current of humour with which the author, with singular tact, invests him, the character would be Whatever difference of opinion may exist as to the merits of M. Casimir Delavigne's drama-considered abroad as one of the triumphs of modern French dramatic literature-they have yet to be acknowledged in this country. There can be no dispute, however, of Mr. Charles Kean's personification of the King. A more closely studied and admirably complete performance it would be difficult to imagine. But more than this, the part of Louis the Eleventh seems peculiarly adapted to the powers of the actor, who throws himself instinctively into it, and exhibits a new vein of comedy, for which his warmest admirers had hardly given him credit. The character is essentially melo-dramatic; the comic preponderates, and there is not one great tragic point in the whole. M. Casimir Delavigne had evidently Shakspere in his mind in the scene, where Louis probes Tristan l'Herinite (did the Provost Marshal require inuendoes?) touching the murder of Nemours, which strongly recalls that between King John and Hubert, about the murder of Prince Arthur, and that between Richard the Third and the Duke of Buckingham, apropos of the two princes in the Tower. "Thou wast not wont to be so dull, gossip," are the words of Louis to Tristan. Put "cousin" in place of "gossip," and you have the exact phrase of Richard to (Continued from page 19.) ONE day, when Mozart was in a good humour, he proposed that those persons, who in vain racked their brains for melodies, should have recourse to a game at dice, in which each person should be allowed only two or three throws, and immediately receive a theme for a cantata, symphony, air, or galop. A great many took the joke seriously and threw. It is true that the plan of deriving the melody from the words, although somewhat similar, is a more sensible one, and, indeed, at first sight, appears to contain the philosopher's stone; but such, unfortunately, is not the case. Words, like tones, are capable of producing sensations by themselves; but if they are both united, the former pale like candle-lamps before gas-light. The former may aid in diffusing light, but it is from the latter that all the rays seem to proceed. On this principle it is possible that thousands and hundreds of thousands may feel elevated and excited by "Rule, Britannia," without understanding a word of the text; and quite as many, most assuredly, allow themselves to be captivated by one of Rossini's comic operas, (performed in Italian), without caring about the words. No one will understand me as saying that words are entirely superfluous-but simply in this manner we shall have no suns shining, but, at most, candle-lamps. Trop raffiner c'est dénaturer. What have men not attempted with the poor manner, words! There was one period when composers exerted themselves to render the mere words picturesquely, without reference to the whole work. If, for instance, the expression "high goddess," occurred in the text, "high" was set to a very high note; if we had "the deep feeling," it was considered necessary to render "deep" by an exceedingly low one; at the word "sin" the composer introduced an enharmonic transition, and a tremolando was absolutely indispensable for "pain," just as when many songstresses have to express that feeling they press their breast and shake their bodies. True expression proceeds from within. Melody cannot be taught. We may criticise it here and there, but we cannot improve it, or it is no melody. When we blame Weber, for instance, because in his opera of Der Freischütz, he makes Aennchen, in the air "Trübe Augen," sing the unaccented syllable "gen" on a higher tone than the first syllable "au," we are, perhaps, not altogether wrong; but any attempt to improve this most enchanting arietta, so admirably adapted to the roguish, delightful character of Aennchen, in a wordmelodious would be a failure. I could adduce a great many such instances of Wagner, in spite of which he is charming, and as many others strictly word-melodious, where he is repulsive. I purpose showing this when I come to treat of Lohengrin. If the system of word-melody maintains its ground, it will not be difficult in this inventive age-which has already invented an instrument that immediately marks down every note a person sounds, as well as one that imitates all the instruments of an orchestra-to invent another that will set down musically whatever a person declaims. We should then be able to compose a Drama of the Future in a few hours. But, joking aside, melody is quite a different thing to what some people pretend to think it; for I greatly doubt their believing the doctrine they promulgate, and acting in accordance with it. The words are simply the rough, transparent olibanum; the melody is the beautiful perfume which, when the former is warmed or lighted, escapes from the clouds of wreathed smoke. Let us cast a retrospective glance on its origin. Upon the establishment of the Christian church, believers rejected, with horror, both heathen and Grecian tunes. A most fervent and sincere religious feeling created melodies, differing in every respect from those employed in the theatres and temples of the heathen. Hilarius was the first to write poetry and music for the church. About the end of the fourth century, Ambrosius introduced a type of sacred music, by accurately determining the harmonic proportions and con fining them to four keys. In the sixth century, St. Gregory devoted his attention to vocal music, and his Antiphonium, fastened to a chain, was laid before the altar of St. Peter, in order for ever to preserve the primitive melodies, which had been produced by the most unalloyed enthusiasm, and were not simply a means of declaiming the text. The Roman Catholic Church retains this music to the present day, and, when sung by a numerous choir of priests, as I have heard it sung in the Cathedral at Cologne, it produces a most powerful effect. Composers, however, continued to introduce fresh ornaments; so that, in 1549, Cirollo Franchi wrote as follows concerning the singers of his day :-"They consider their whole happiness and merit to consist in the fact, that at the same moment one says 'Sanctus,' another shall sing 'Sabbaoth,' and a third 'Gloria Tua,' this medley being accompanied by a certain howling, bellowing, and snarling, which rather resembles the caterwauling of tom-cats in January than the fragrant flowers of the moon of May." When these abuses had attained their greatest height, the genius of Palestrina arose; this, say his contemporaries, was as pure as if the angels had instructed him in the harmony of Heaven. It is now three hundred years since Palestrina taught, and yet all musicians acknowledge him as a genius of the highest order. I am acquainted with two masses by him (with the same text, naturally), both magnificent, beautiful, and truthful in expression, and yet both differentEleison" contains a world full of tones, if you but possess the how does this agree with the system of Word Melody! Yes, a "Kyrie art to select good ones: but it is only the power of genius, and not that of the understanding alone, which succeeds in What Palestrina was doing this. at the epoch just mentioned, Wagner wishes to be at the present day. As church music had sunk then, opera has sunk now; and as a French vocal choir inoculated Rome with superficiality, it is also the French school of modern times which has been productive of injurious effects in Germany. Germans have, from the bad translations they are in the habit of hearing every streets, we mostly hear only French airs, and yet music deserves some day, learned to undervalue the text. In garden-concerts, and in the attention as a means of expression and excitement, in so far as it works upon the sentiments of a whole nation. There have been but few statesmen who have not devoted their attention to the course taken by the feeling of a whole nation; and yet there have only been very few who have recognised the influence exerted by music in determining it, although a song out of Grétry's Coeur de Lion was capable, during the French Revolution, of pacifying a furious multitude, and, at last, causing it to join in; while, sixty years later, the melodies of La Muette de Portici, with the flames of their straw fires, excited people to a directly opposite dency of public feeling in Germany is one that, for every German, is course, analogous to the sentiment they expressed. The present tencontrary to nature, and forced upon him by Paris. On this account it does not flourish, like a southern plant in a northern soil, but is cultiThis should not be the case. Berlin possesses, at least, as much strength, vated from a dearth of indigenous produce. Paris still sets the fashion. there that a ray of light should be diffused over all Europe; there that It is there that the banner of German art should be displayed, from everything that is beautiful should be concentrated and reign over all around, with the irresistible force of superior and refined intellect. There must be the source of the stream, that shall spread its fruitful waters over the country, receive all the brooks and rivulets, and then pursue its onward course as a mighty river. Let us at present take for our model the schools of Paris for music and lyric declamation; when the German knows what he is to do, it will not be long before he outstrips the Frenchman, because he is more indefatigable: while, again, if we gradually expunge French opera from our repertory, and take care that German composers are no longer left to die of hunger, we shall soon fill up the gaps with German operas. This was what Weber wanted, and the object he had in view when writing his operas. This is what Wagner, too, wants, and even if he were not already, as an artist, to be ranked among the most meritorious, he would be worthy of our especial attention, simply from the fact of his possessing a feeling of nationality, and working to the best of his ability, both in text and music, for German art. That a German composer, however, who did not first produce his operas in Paris, and there obtain a testimonial of capability, should create a furore in our cautious country is due to Franz Liszt. But for him, Wagner would long since have been forgotten. Should, however, matters not turn out quite so successfully as the more sensible desire, we must blame those friends who, no longer contented with seeing Wagner honoured as a mortal, wish him to be worshipped as a god-although he is yet very mortal, especially when he meddles with word-melody.. (To be continued.) ORIGINAL CORRESPONDENCE. HER MAJESTY'S PRIVATE BAND. To the Editor of the Musical World. SIR,-It gave me much satisfaction to read the very just and true statement made in the letter of "A Chorus Singer," inserted in your valuable journal of last Saturday. It is a matter of much regret that there should be only too true a cause for such remarks. There is one mistake I consider you have fallen into in your clever leader on the same subject, which, when you know the truth (and that can easily be discovered by inquiry), you will at some future time rectify. In speaking of the pay of the private band, you call it "liberal." Now the salary of either Mr. or Mrs. Anderson may be "liberal"-for that is a point not open to public inquiry, and that Her Majesty is led to believe that all the members of the Private Band are "liberally" paid, I have no doubt whatever. But I think, when you are told that the principal part of the members only receive £80 or £100 per annum, and that they are required for that sum to be always in readiness to fulfil Her Majesty's commands, to the loss of all other engagements which they may by chance make; and that they are taken from their houses in town for the greater part of the winter to Windsor, without any further allowance being made them for increased keep up second of residence, ISS REBECCA ISAACS begs to inform her friends and the public that she now receives Pupils at her residence, No. 8, Storestreet, Bedford-square, where communications for Concerts will be received. Leo-Voice, expenses attending the having to see that part of the musical profession; MISS BLANCHE CAPILL (Pupil of Louis Letreet, Rice make use of the term "liberal" as regards their salary. terrace, Islington, where letters respecting pupils or engagements may be addressed. There are many more arrangements respecting the Private Band of Her Majesty Queen Victoria, which ought-and I trust will-meet with exposure before long; exposures which may possibly, nay, I believe MISS E. JACOBS will sing at Dalston, 22nd and 29th; will, astonish Her Gracious Majesty as much as any of her musical subjects. I remain, sir, yours obediently, PROFESSIONAL CHORUS SINGERS. TRUTH. SIR,-The insertion of the letter of "A Chorus Singer," together, with your powerful leading article on the subject, will do more good for the ill-paid body of professionals, of whom I have the misfortune to be one, than anything that has hitherto been done; and I speak fact that one and all are heaping thanks upon you for Chatham, 23rd; Reading, 24th; Dover, 25th; and Folkstone, the 26th instant. Further communications respecting Concerts, &c., to be made at her residence, 8, Bury-street, City. SIGNOR GREGORIO begs to inform his Friends and Pupils that he will resume his Professional duties after the termination of his engagement in Scotland. MR. H. COOPER, Concert Ageut.—Professors and others giving Concerts in Town or Country, may be supplied with Vocal and Instrumental Performers on applying, by letter, to Mr. Cooper, No. 44, Upper Charlotte-street, Fitzroy-square. from observation behalf. But woe to the writer of the able letter if his Mor the Cason, gives lessons on the Violin, accepts engagements to perform name should ever transpire; already are the "700" on the qui vive to discover it, and of a surety he would become a marked man; but let us hope that the prime mover in a cause so beneficial to a suffering class will meet with better treatment. My immediate object in addressing you is to ask: Cannot the letter, together with your leader, be, through your kindly aid, inserted in the Times, Observer, &c.? for then would the public be made aware of a great abuse, and, at the same time, your praiseworthy efforts to remove it. Pray accept my personal thanks for your able exertions in the R. H. C. COOPER, who has just returned to Town Solos, lead Quartets, etc., etc.-For terms apply (by letter) to Mr. Cooper, No. 44, Upper Charlotte-street, Fitzroy-square. R. FRANK BODDA begs to inform his pupils that the season.-2, Nottingham-terrace, York-gate, Regent's-park. R. BRINLEY RICHARDS desires to announce that cause, and insert this if you can find space for it. I remain, Sir, your he has returned to London for the season, and requests all communications obliged servant, Jan. 16. A FEMALE CHORUS SINGer. to be addressed to him at his residence, No. 4, Torrington-street, Russell-square.January 18. "The French National Air has been arranged by Mr. Gibsone with consummate skill. The variations are light, elegant, and pleasing, and will be found admirably adapted for school teaching."-Musical Review. A List of the Music published in London during the past week. s. d. Campbell & Co. 2 6 THE Glover, C. W.-Airs from Lucia di Lammermoor, in 2 books, each 3 0 Gibsone, Ignace.-Helen. Mazurka 2 0 Metzler & Co. 2 0 Campbell & Co. 3 0 Hunten, F.-Non più mesta Höchst, Carl.-The Cardigan Galop Hortense Valse Jullig, Franz.-Maria's Beld Laurent, H.-The Victory Polka Mendelssohn-Andante Rondo Capriccioso Mount, G.-The celebrated Quartette from Rigoletto, arranged A te o cara-as a duett Mendelssohn's Wedding March-Solo as a duett Ditto, duett 20 Campbell, Ransford, and Co., 53, New Bond-street, London. TO MILITIA REGIMENTS.-NOTICE.—Command ing Officers of Militia requiring Bands are respectfully invited to apply to Messrs. Boosey and Sons, 28, Holles-street, Military Musical Instrument Manufacturers to Her Majesty's Army and Navy, the Governor-General of India, &c. &c., who undertake to form and supply Bands with every requisite, including Instru ments with their appurtenances, Music of the very best description and at the most moderate prices, together with Bandmaster and Musicians of acknowledged talent. Standard Elementary Works THE PUBLISHED BY BOOSEY & SONS, 28, HOLLES STREET. THE UNIVERSAL SINGING METHOD.-Just ready in a large volume (60 pages), price 6s., cloth. The Universal Singing Method, containing complete instructions how to produce and cultivate the voice without the aid of a master, followed by a number of Solfeggi and Exercises by Rossini, Righini, Vaccaj, Lablache, Bordogni, Garcia, and others; also useful lessons on singing with taste and expression, concluding with four celebrated songs and a duet by Handel, Bellini, Donizetti, Verdi, &c. KEATING'S COUGH LOZENGES. A CERTAIN REMEDY for disorders of the Pulmonary Organs-in difficulty of Breathing-in Redundancy of Phlegm-in Incipient Consumption (of which Cough is the most positive indication) they are of unerring efficacy. In Asthma, and in Winter Cough, they have never been known to fail. Keating's Cough Lozenges are free from every deleterious ingredient; they may, child; while the Public Speaker and the Professional Singer will find them invalutherefore, be taken at all times, by the most delicate female and by the youngest able in allaying the hoarseness and irritation incidental to vocal exertion, and con- IMPORTANT TO SINGERS AND PUBLIC SPEAKERS. I am, Sir, yours faithfully, St. Paul's Cathedral, 30th Nov., 1849. SIR,-I have much pleasure in recommending your Lozenges to those who may be distressed with hoarseness. They have afforded me relief on several occasions when scarcely able to sing from the effects of Catarrh. I think they would be very useful to Clergymen, Barristers, and Public Orators. To Mr. Keating. THOMAS FRANCIS, Vicar Choral. EAUMONT INSTITUTION CONCERTS.-The third Concert of the season will take place on Monday, January 29. Vocalists Mrs. Sims Reeves, Miss Poole, Miss Dolby, Mr. Farquharson, and Mr. Sims Reeves, Violinist-Herr Van Heddeghem. Organist-Mr. A. Carder. Conductor-Mr. Frank Mori. Tickets-Area, 1s. 6d. ; Balcony, 28.; Reserved Seats, 2s. 6d. communications respecting these Concerts to be addressed to Mr. D. Francis, Director, at the Institution. ORDOGNI'S SOLFEGGI.-Five Sets of these celebrated BE BOR Solfeggi are now published, viz. Twenty-four new easy Vocalises for all Voices, 128.; Twelve for Contralto, 12s,; Twelve for Baritone, 128.; Twelve for Mezzo-Soprano, 158.; Thirty-six for Soprano or Tenor, in three books, price 10s. each. RESCENTINI'S TWENTY EXERCISES for the CE voice. Price 8s. INGARELLI'S Price 10s. All CELEBRATED SOLFEGGI. NEW FIRST PERFORMANCE this season will take place on Wednesda EW PHILHARMONIC SOCIETY, Exeter-hall. ANSERON'S A-B-C MUSICALE Small 8vo. Feb. 14. Conductors, H. Berlioz and Dr. Wylde. Subscriptions received at SOCIETY, Exeter-hall. SINGING. NEW PHILHARMONICedunt the CONCERTS one asuing Reduced price, 4s. HARMONY AND MODULATION.-Mrs. Kirkman's New System of Harmony is now ready, price one guinea, comprising the Model Scale. Harmonical Circle, and Practical Analysis: also an Exercise Book, price 6s. This work which has received the warmest approval of every master of Harmony. The Musical World says, "One week's attentive study of this perspicuous diagram, will do away with the necessity of months of arduous and thankless labour." The Publishers beg to direct particular attention to Mrs. Kirkmans' beautiful simplification of a most perplexing subject. Prospectuses forwarded on application. ARSCHAN'S PIANOFORTE HAND-BOOK, a new, THE CONCERTINA MISCELLANY.-Just Published, price 2s. 6d., the first number of the Concertina Miscellany, a new periodical of Popular Music for Concertina Solo, and Concertina and Pianoforte. To be conThe tinued every month. Subscriptions, per annum, 21., or postage free, 278. number for January contains a Fantasia on Masaniello for Concertina and Piano, by GEORGE CASE. Boosey and Sons, 28, Holles-street. complete, and cheap school for learning the elements of music, and acquiring UST PUBLISHED.-"Let us, then, cheerily wait for a masterly execution on the Pianoforte. It contains the theory of music all the scales 'in both modes, and 91 Exercises, Studies, and Pieces. Price 10s. 6d., in a large book. ARSCHAN'S ELEMENTARY INSTRUCTIONS in MARSCHAN'S with the addition of all the Scales in both modes. in the Spring," a Winter Song, price 2s. Words by ARTHUR RANSOM; Music composed and respectfully dedicated to Mrs. George Scrivens, by GEORGE LINDRIDGE. Published by Charles C. Ayles, Music Repository and Library, 35, Robertson-street, Hastings. Profits arising from the sale of this Song will be given to the Patriotic Fuud. OW ■ EMOINE'S PIANOFORTE METHOD, in English and N for ready for delivery, THE MUSICAL DIRECTORY New edition, with the whole of the chords, published in no other copy. LOGIER'S SYSTEM of the SCIENCE of MUSIC, and Practical Composition.-A new edition of this celebrated work is just published, in one vol., bds., price 21s. Also, the 19th edition of Logier's First Companion to the Chiroplast, an Instruction Book for the Pianoforte, 88.; and the 12th edition of the First Sequel to the Companion, price 6s. CASE'S INSTRUCTIONS for PERFORMING on the CONCERTINA, commencing with the first rudiments of music, and procceding through a progressive course of study to the most difficult and elaborate style of performance; comprising examples, exercises, and explanations, composed, compiled, and arranged by George Case. Price 10s. 6d. COLOGNE UNION. The following choruses for men's voices, "Good Night," "Soft Music," "Happiest Land," "Hunter's Delight," "Little Church," "Sailor's Song,'" "Soldier's Consolation," "Sunshine," Wanderer," ""For Liberty and Fatherland," "The Chapel," "Joyful Spring," sung by the Cologne Union, score and parts, price 1s. and 1s. 6d. each, are published by C. H. Purday, 24, Maddox-street, Regent-street. CASE'S CONCERTINAS, manufactured under the personal superintendence of MR. GEORGE CASE, the eminent professor, whose talent and energies have been devoted so many years to the improvement of this instrument. Prices from £4 48 to £12rfect cucap Concertinas which, Concertinas are intended to supersede the imperfect being made with only half the proper number of notes, are really worthless as musical instruments. A post-office order for £4 4s., will ensure the delivery of a Concertina in a handsome rosewood case, carriage free to any part of England. Residents in London are respectfully requested to call between the hours of Two and Four, when Mr. Case attends to try over Concertinas and music. Boosey and Sons, sole dealers in Case's Concertinas, 28, Holles-street. ROMBERG'S VIOLONCELLO SCHOOL, the greatest Alma Redowa, by Hollyer; Parisienne, Rodowa, by; Orynthia, by Chapman. for this instrument. A second edition, with portrait and plates, is published, price 30s. L. Williams; Schottische, by Toner; |