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MEYERBEER-VERDI-SCRIBE.

Extract of a Letter from Paris to Vienna.

THE Grand-Opéra is in a frightful state! Cruvelli! Cruvelli! One swallow does not make a summer, nor does one nightingale make an opera! Cruvelli is the Rachel of the Grand-Opéra, and Rachel is the Cruvelli of the Théâtre-Français. Rachel has Racine and Corneille; Cruvelli has Halévey and Meyerbeer. Corneille and Racine are dead, but Halévey and Meyerbeer are alive-which is a drawback.

Whoever wishes to be immortal to-morrow must die to-day; whoever wants to be acknowledged to-morrow must have been buried yesterday.

Halévy is not compelled to struggle very hardly against the world and the public-against critics and artists-for his successes are sterling but not startling! His operas please but do not furorize people; they take their station on a level with other operas, but do not totally eclipse them. Meyerbeer, however, is in a constant state of emotion. His great successes are fertile in opponents; the crowds which throng to hear his works are accounted a sin in him; if another composer's opera does not please, its chute is Meyerbeer's work; if another composer's opera is not produced, it is Meyerbeer who composed the obstacles, etc. But it is true, very true, that Meyerbeer is to blame for the fact that the operas of others make no way or are unsuccessful-but not Meyerbeer the individual, but Meyerbeer the genius; not the man Meyerbeer, but the composer Meyerbeer; not Meyerbeer with his acquaintances and influence, but Meyerbeer with his operas, and brilliant triumphs. It is not Meyerbeer who intrigues against the success of other people's operas, but his children, i. e. his works, his musical creations! That his Robert the Devil plays the very devil with a thousand other operas, and sends them to the Hades of

oblivion is not his fault! We cannot account it as a crime in him that

the Huguenots slay a whole host of mediocre operas in a single evening. That his Prophète lives longer into the future is an offence that is very natural! That his Etoile du Nord continues to shine, while many stars in its vicinity shoot by it and fall to the ground, is a decree of Heaven!

Meyerbeer plays the part of Fate with respect to many French operas! Meyerbeer was coming to Paris; he ought to have been-he wanted to be-here a long time since; he is not come, however, or, if he did come, he merely passed through Paris on his road to London. And why did not Meyerbeer come? Because he is not only a genial and unsurpassable composer, not only one of those rare specimens of humanity on whom Fate has bestowed, in addition to colossal capabi lities, luck for talent alone will not do in the world, nor will luck alone; both must be combined-but, because he, Meyerbeer, has a fine nose as well. A fine nose is a gift of Heaven; a most peculiar gift. What a strange combination: genius, luck, and a fine nose.

Two new operas were to be produced: Jenny Bell by Auber, and Les Vêpres Siciliennes by Verdi, the books of both being by the great libretto man in the south, "on whose empire the couplet never sets," by Scribe.

I was about to ask Cruvelli, who had ordered some German "Mehlspeise" to be cooked for me-Heaven and Saphir will reward her-why she had no appetite, but I guessed the cause; she was already studying Les Vêpres.

Meyerbeer's fine nose must probably have thought as follows:-" If these operas do not succeed, and I am in Paris, certain people will be sure to say, 'C'est Meyerbeer! For when an opera is unsuccessful for want of merit, composers say, 'Meyerbeer has done that! Meyerbeer is the opera-cracker.'

Meyerbeer, therefore, kept away: the "opera-cracker" did'nt work, and yet both operas were "cracked," and the result was a great amount of shell and very little kernel!

Jenny Bell, "la Jenny Lind empaillée," has gone, without producing much emotion or commotion, without much ringing of bells or signs of joy, to where many operas go, the way of all Strausses and Musards! The Vepres Siciliennes, however, the last heroic achievement of the Grand-Opéra, the youngest child of Verdi's excellent memory for his own operas, was not damned, but is gradually sinking! When, in this opera of five mortal hours, people now and then meet with a beautiful motive, they say: Passez votre chemin, je vous connais, beau masque ! There is not one piece in the opera that is new; I mean: Verdi has not struck out a new path in a single bolero, in a single cavatina, in a single romance, or in anything else; we find the same artistic mark woven in every piece; all the details bear the same stamp; we meet with the designs of Ernani, the invariable cadences, and the eternal absence of musical substance. There are some very pretty and melodious bits, the instrumentation is what may be termed very

"clean," and some of the vocal touches are very sparkling and lively, but the music of this five-hour opera has no particle of character; it is deficient in exactly the very thing with which a Sicilian Vesper cannot dispense: the musical certificate of legal residence! We do not perceive Italy-Sicily; we have the local tone, but not the local colouring, not the seething blood, the feverish passion, the voluptuous heat of musical vegetation! The second act is magniparade of common effects and absence of intensity of conception! Cruficent and contains splendid passages, but even there we find the same velli alone, in the "double-chorus" produced a furore, and justly so. The conspirators in front, and the persons sailing on board the barks in the background, are magnificent. In the fifth act, however, the whole affair sinks into a kind of lassitude and sleepy exhaustion, of insipidity and triviality of style, that is incomprehensible!

In this act, Verdi must take M. Scribe by the hand, and say to him: "Einen theil der Schuld muss du vor dem grossen Richter tragen!"* In fact, the whole book is a monstre. It cannotin jure Scribe's great and magnificent talent, if we at last speak to him in the following words: "Enough! you have swayed long enough the sceptre of libretti; you have been long enough the only sovereign of Meyerbeer, Verdi, Auber, Halévy, and others. Your music requires rest. Even Let younger talent, also, hew itself out a little career, and do not place the greatest genius cannot succeed in all things and on all occasions! yourself right across the road, so as to block it up for the youth now coming." The Vepres is more than a bad text; it is a piece of stupidity! trary to the feelings of Frenchmen in the subject! He wanted to There is no doubt that Scribe felt all that was repugnant and concover himself, and thought he could get rid of the recollection of this inappropriate circumstance, by declaring at the top of his libretto, "The Sicilian Vespers are not at all historical! They are a fiction." remark, constituted himself his own accuser. For if respect for history But, whether this be true or not, I think that Scribe has, by this did not compel him to display no invention, who is to blame for the entire absence of that quality, and, indeed, such a mutilation of an event which he could spin out and end just as he chose!

It is something hazardous to begin a chorus in Paris with the words: "Sois maudite, ô France!"

and, then, at the end to conclude the sanguinary Vespers so languidly and weakly, and represent two or three Frenchmen massacred by a whole host of Sicilians. Does Verdi hope that he will be able to have the opera represented in this dress in Italy? Impossible!

Shall I now tell you what we-who go behind the scenes-and Ithink we know about the text of this opera? who draw my information from the very midst of the various sources— Can Verdi not be aware that this libretto-at least, so says the ill-natured world-has already a grey head? That it has been offered to all the French and Italian maestri, not even excepting the late Donizetti? Can these Vepres have been once called Le Duc d'Albe? Can the following verses of the Vépres:

"Frappez-les tous! que vous importe?
Français ou bien Siciliens;

Frappez toujours! Dieu choisira les siens!" have been contained, word for word, in the libretto in question! Did not the "Legate" speak them? I cannot myself assert that he did, but people whisper it!

And then what a wretched conclusion! The princess, who, in the beginning, is all blood and love, love and blood, who plays with poniards-this sanguinary man-woman becomes at last a lamb, a fish in disposition, a shepherdess in feeling, a sister of charity in words! Signor Verdi, too, completely agrees with this travesty of his heroine, and carries her on to the end with shakes and couplets! Frenchmen and Sicilians massacre each other in amiable verse, and the lovers sink into the arms of death to bars of dance-music! This is called the Sicilian Vespers, not the historical vespers, however, but the poetic, improved Sicilian Vespers, adopted, as their offspring, by Scribe and Verdi.

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There is, also, a ballet in the opera- -a ballet and danseuses, but the latter are so old and ugly-with the exception of Conqui! How can anyone be named Conqui," when she is charming as sin, young as Spring, and beautiful as a May morning, besides dancing like a roseleaf upon the lips of a zephyr?

There is still something left for me to mention: the costume! Is Sicily in Russia? Is Palermo the capital of Sicily? What furs! What muffs! What fur trimmings! Also good!

* "You must bear a part of the blame before the great Judge!"

But Cruvelli! What a superb singer! What a voice! What melting tones! What soul! What heartfelt singing, and what true and moving pathos! With what passion she sings her grand aria! and with what sweetness her romance! How clear, how full of soul, passion and intensity is everything she does! She was overwhelmed with applause. If these Vespers retain their place on the stage, it will be because Mdlle. Cruvelli is the daily Vesper-Brod which keeps them living, which nourishes them, which gives them flesh and soul. Gueymard has a nice voice, but his acting is not dramatic, because he wants to make it too much so; besides, he has a part not suited to him; it is too soft and gentle. SAPHIR.

ORIGINAL CORRESPONDENCE.

ENCORE "ENCORES."

To the Editor of the Musical World. SIR,-In your last number you published a letter from "Justice," calling your attention to the fact of Mdlie. Jenny Bauer having been encored in each of her songs at Heinrich Werner's concert, though in your reporter's notice one only was mentioned as having gained that honour. I therefore respectfully request, on the part of a young artist, that you will state that Mr. Seymour was encored in "Angiol d'amor," a fact which you have not yet noticed. Your obedient servant, Wednesday, 18th July, 1855.

S. J. R. [Any further letters of this description must be paid for as advertisements.-ED. M. W.]

TOUCH AS APPLIED TO THE INSTRUMENT AND THE FINGER.—The

term "Touch" is applied as well to the instrument as to the performer. When it is said that a pianoforte has "a good touch," it is intended to express that each key replies with ease to every degree of lightness or power with which the finger presses or strikes it; that it possesses the just amount of resistance to the touch of the finger; that its slow or rapid reiteration produces tones of equal value respectively, and that in these various particulars there exists no perceptible inequality throughout the entire range of the instrument. By the "touch" of the performer we mean the action of the finger on the key. By the majority of pianists, professional as well as amateur, this quality is not sufficiently cultivated; and now that we fortunately possess actions so perfect in their mechanism as to enable us to draw from the string any amount, and almost any quality of tone we may desire, we must attribute a hard unvocal tone, if I may be allowed the expression, to a want of musical feeling on the part of the performer. I would counsel all students of the pianoforte closely to imitate the voice; and, by frequent experiments, strive to produce from the point of the finger every gradation of tone of which the voice is capable. Between forte and fortissimo, piano and pianissimo, there are gradations of tones to be drawn forth, analagous, in the sister art of painting, to the middle tints of a picture; by the production of which, an expression is given to music which excites, both in the player and the auditor, emotions,

PECULIARITIES OF MUSICIANS.

(From a German Paper.)

MUSICIANS have, as we well know, strange whims and caprices at times. The following account of some of the most remarkable may prove interesting to our readers, but we do not hold ourselves responsible for the complete accuracy of all of them. Auber could not stop two days successively in the finest city in the world. Adolphe Adam (of the Institute) has the greatest contempt for fine trees and forests. Donizetti used almost invariably to go to sleep while travelling, not paying the slightest attention to the beauties of nature. Päer was fond of contradictions: he wrote Camilla, Sargines, and Achilles, while joking with his friends, scolding his children, and incessantly quarrelling with his servants. Cimarosa had always a dozen, or so, connoisseurs of art around him, who used to be talking on all kinds of subjects while he was writing. Sacchini lost the thread of his inspiration when his cats left off running over the table. Sarti could not compose except in a dark room without furniture; he only allowed the wretched light of a flickering lamp, that hung from the ceiling. Spontini, too, was accustomed to compose in the dark. Salieri was obliged, in order to foster his powers of imagination, to go out, and walk through all the most frequented streets, eating bon-bons. Hadyn, on the other hand, used to seat himself in a spacious arm-chair, and, with his eyes fixed on the cieling, let his imagination rove through unknown spheres. Gluck used to seat himself in the open air-sometimes quite in the sun-with two bottles of champagne, and warm his mind by gesticulation, as the artists intrusted with the representation of his lyrical dramas might have done. Händel used to walk about churchyards, and, also, often sat down in the most lonely corners of the churches. Pasiello, who was indescribably worshipped flowers; he would fall into a reverie before a rose, and lazy, used to remain in bed a great portion of the day. Méhul felt really happy only when he could wander unobserved in some lonely garden. Mozart read and re-read Homer, Dante, and Petrarchi. He hardly ever sat down to the piano without first perusing one or two chapters from his favourite authors. Verdi prepares for the task of composition by reading a drama of Shakspere, Goethe, Schiller, or Victor Hugo, or fragments from Ossian.

(A tissue of more nonsensical "canards" was never woven. We only quote them to warn our readers against attaching any importance to them.-ED. M. W.)

KREMSMUNSTER (Upper Austria). -A grand performance of Mendelssohn's Elijah was given on the 1st inst. The orchestra consisted of ninety members. The whole went off in the most successful manner, and the enthusiasm of the audience was indescribable.

ADVERTISEMENTS.

fessors of the Flute, Guitar, and Concertina. 131B, Oxford-street; where their Concertina Classes are held, and where all their compositions may be had for the above instruments.

almost as varied as our sensibilities. An attention to pianos and fortes, MR. AND MADAME R. SIDNEY PRATTEN, Projust time, and a firm clear articulation, are considered, by pianists in general, sufficient requisites to constitute a "good player." We have myriads of "good" players; but of "great" players, how few! The aim of manufacturers, besides producing a greater volume of tone, a

more sustained quality, and a more equal touch, has been to bring, by HERR REICHARDT begs to inform his friends that ineans of the most perfect mechanism, the peculiar sensitiveness of the finger into a more immediate association with the string, so that every

variety of touch shall produce a corresponding variety of tone from the instrument. Dr. Lardner, in his "Handbook of Philosophy" instances the mechanism which in the pianoforte connects the key with the hammer as a "beautiful example of complex leverage." He says "the

object of it is to convey, from the point where the finger acts upon the key, to that at which the hammer acts upon the string, all the delicacy of action of the finger; so that the piano may participate to a certain extent in the sensibility of touch which is observable in the harp; and which is the consequence of the finger acting immediately on the string in that instrument without the intervention of any other mechanism." The whole range of mechanical art, I believe, does not furnish a more astonishing result: and, when the distance from the keys to the wires is considered, I think it will be conceded that to produce, through the medium of wood and leather, that marvellous sympathy which exists between the finger and the strings, a great triumph of mechanical skill

he has left for the Continent, but will return in time for the Birmingham Festival. All letters to be forwarded to 36, Golden-square.

Missor of Music and Singing, 47, Alfred-street, River-terrace, Islington, ISS BLANCHE CAPILL-(Voice, Contralto), where letters respecting pupils or engagements may be addressed.

MUSIC, A Hundred Brass Instrument Players, to join a Military Band USICIANS.-Wanted, under most advantageous con

in Her Majesty's Service. It is absolutely necessary that the men be either Germans, or speak the German 1nguage. Parties introducing musicians will be liberally compensated. Apply to Boosey and Sons, 28, Holles-street, Oxfordstreet, daily, between the hours of 10 and 4.

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has been achieved. We are of late, however, so accustomed to per- MPM

fection in the numerous inventions of art that it not only ceases to excite our wonder, but is not even appreciated.-Charles Salaman's Fourth Lecture.

DME. ANNA THILLON, AUGUSTUS BRAHAM, FARQUHARSON, RICHARDSON, GEORGE CASE. The above popular artistes will make a tour in the provinces in September next. Applications respecting engagements should be addressed to Mr. George Case, at Messrs. Boosey and Sons, 28, Holles-street, London.

LINDLEY the VIOLONCELLIST.-The very charac

teristic Original Portrait of the late Robert Lindley, admirably painted, is now for sale, and may be viewed at Mr. Walesby's Gallery of Art, 5, Waterloo Place.

BIRMINGHAM MUSICAL FESTIVAL, IN AID

OF THE FUNDS OF THE GENERAL HOSPITAL, on the 28th, 29th, 30th, and 31st days of August next. Under the especial patronage of Her Most Gracious Majesty the Queen, His Royal Highness the Prince Albert, Her Royal Highness the Duchess of Kent. President. The Right Hon. Lord Willoughby de Broke. Vice-Presidents, The Nobility and Gentry of the Midland Counties. J. F. LEDSAM, Esq., Chairman of the Committee.

TO CONCERT AGENTS, VOCALISTS, &c.—The

Committee of the Leeds New Subscription Concerts, and of the People's Concerts, will be glad to receive applic tions for engagements during the ensuing season (September to April) from artistes who may be travelling northwards. Address-John Briggs, Hon. Sec., Recreation Society, 23, Park-row, or, William Spark, Musical Director, 11, Park-square, Leeds.

OLD

LD CHORISTERS' GATHERING.-At a Meeting of Old Choristers, held on Wednesday, July 4th, 1855, it was determined to make arrangements for a gathering of those who have been educated in, or are at present members of Cathedral and Collegiate Choirs It was suggested that the object would be most agreeably carried into effect, by inviting all who feel an interest in meeting their o d schoolfellows (separated as they are in many instances by distance or professional avocations) to assemble for a morning Choral Service in Westminster Abbey, on Monday, July 30th, 1855. It was also proposed that the meeting proceed by water from Westminster to London Bridge, and from thence by railway to the Crystal Palace, Sydenham, to enjoy a day of relaxation and friendly intercourse. Arrangements have been made that the Tickets (including Dinner and all other expenses) shall be 10s. 6d. each, which may be had on application to Edward J. Hopkins, Esq., 69 Tachbrook-street, Pimlico. Those persons who are desirous of being present are requested to make their intention known by an early application, and a remittance of the price of a Ticket, which will then be forwarded.

R.

(Signed) EDWARD J. HOPKINS, Chairman of Committee.

S. PRATTEN'S PERFECTED FLUTE (on the

to possess the most powerful tone, combined with perfect intonation, sweetness, and ease to the performer. Prospectus and testimonials on application to John Hudson, Manufacturer, 3, Rathbone-place.

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BOOSEY'S UNIVERSAL CORNOPEAN TUTOR. A complete theoretical and practical school for the Cornet. Price 6s. in a handsome book. Also,

BOOSEY'S CORNOPEAN JOURNAL.

275 popular melodies for the Cornet-à-Piston, selected from the modern operas, dances, and songs. Price 15s. in ornamental binding. Published and sold by Her Majesty's Army, the Militia, etc.

PIANOFORTES. To all who desire a First-rate Piano Boosey and Sons, 28, Hollos-street, London, Musical Instrument Manufacturer to

at a moderate price. Messrs. Lambert & Co., lately removed from Percystreet to 314, Oxford-street, near Hanover-square, beg to call particular attention to their new Patent Repeater Check Action Pianofortes, and method of constructing the bracing, which they warrant not to give way in any climate. For purity of tone, easy and elastic touch, and durability, Messrs. L. and Co. have no hesitation in asserting that their Pianofortes stand unrivalled. They have received most numerous and flattering testimonies to this effect, from purchasers, both at home and abroad, and they feel confident, that their instruments have only to be tried to be appreciated. Mr. Lambert gained a prize for his Patent Cottage Piano at the Great Exhibition, and is the sole inventor of the Check Action.-Pianos taken in exchange, tuned, repaired, regulated, and lent on hire. Lists may be had on application.

CONCERTINAS by CASE; the only instruments that remain in tune, and do not require to be constantly repaire.l. Every

concertina by Case has 48 keys (full compass) and double action.

in mahogany, with handsome case, four guineas; No. 2, in rosewood, six guineas: No. 3, in rosewood, eight guineas; No. 4, in rosewood or amboyna, ten guineus; No. 5. splendidly finished in ebony, with plated studs, twelve guineas Case's instructions for the concertina, price 10s. 6d, Case's Concertina Miscellany, published every month, price 23. 6d. Solo dealers and publishers, Boosey and Sons, 28, Holles-street.

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BANK OF DEPOSIT, No. 3, Pall Mall East, London. FORKEL'S GENERAL HISTORY of MUSIC, two

A.D. 1844. Parties desirous of INVESTING MONEY are re

quested to examine the Plan of this Institution, by which a high rate of interest may be obtained with perfect security. The interest is payable, in January and July, at the Head Office in London; and may also be received at the various branches, or through country bankers, without delay or expense. Peter Morrison, Managing Director. Prospectuses and Forms for opening accounts sent free on application.

plates, boards, £2.

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COMPLETE OPERAS FOR PIANOFORTE.-Messrs. ES HUGUENOTS, IN FULL SCORE.-Splendid
L
Sons' new series of complete operas without words, in cloth

covers, gilt letters: Lucia di Lammermoor, 5s.; Les Huguenots, 7s. 6d.; La Sonnambula, 4s.; Norma, 4s.; Fille du Régiment, 4s,; Fra Diavolo, 5s.; Don Juan, 68.; Lucrezia Borgia, 4s. The following operas, in paper covers, are without the recitatives: Rigoletto, 48.; Il Trovatore, 4.; Ernani, 48.; Nabuco, 4s.; Lom

bardi, 4s.; Elisire, 48.; Anna Bolena, 6s. ; &c., &c. Boo-ey and Sons, 28, Holles

street.

THE WANDERING Thousand, in the long sung by Nr. F. Robson, HE WANDERING MINSTREL-LAURENT'S Cele

with a comic illustration by Brandard. Price, for piano, 3s. Full Band, 5s. Septet, 3s. 6d. Boosey and Sons, 28, Holles-street.

MOZAR OZART'S "DAVIDDE PENITENTE," 10s.-English Version by R. Andrews, as given at the Norwich Festival. Full Orchestra and Chorus parts may be had on hire of R. Andrews, 84, Oxford-street, Manchester, and J. A. Novello, London.

edition, strongly bound. Price £10.

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VERDI'S IL TROVATORE.-The Cheapest and Best FERDINAND PRAEGER'S "Elfenmährchen" (Fairy

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G. A. OSBORNE'S NEW PIANOFORTE MUSIC.

Published this day:-Mi Manca la Voce (Mose), 3s.; La Sonnambula, Fantasia, 3s.; D'un Pensiero, 2s. 6d. ; Good Night, 3s.; A te O Cara (second edition), 2s. 6d.; La Donna è Mobile (second edition), 38. Boosey and Sons, 28, Holles-street.

FORBES' COMPANION to the PSALM and HYMN

BOOK, in use at a great number of the metropolitan churches. This excellent little work contains 80 tunes (for four voices and piano or organ), and 35 single and double chants. Two editions are published, one with the Rev. M. Gurney's words; the other with the selection by the Rov. W. J. Hall. Price 48. in cloth. Boosey and Sons, 28, Holles-street.

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MANZAS, sung by Signori Mario. Gardoni, Marras, and Belletti. Price 2s. 1. La Luna. 2. La Prima Lagrima. 3. L'Ultima Preghiera. 4. Amami. 5. Vola il tempo. 6. Il Marinaro (Barcarolle), and 7. Una sera d'Amore, duct, 2s. 6d. Boosey and Sons, 28, Holles-street.

as performed by the composer at all his concerts on the Continent, the celebrated Gewandhaus Concerts at Leipzig, &c.-Published at Cramer, Beale, and Co.'s, Regent-strect.

BIOGRAPHY.-The Life of John Sebastian Bach, with

a Critical View of his Compositions, translated from the German of J. N. Forkel, author of "The Complete History of Music," etc. Price 4s., in boards. The above is a very valuable and instructive piece of musical biography, exhibiting, in a most striking manner, the result of great and original genius united with untiring patience and perseverance. Boosey and Sons, 28, Holles-street.

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MADAME OURY'S NEW PIANOFORTE MUSIC, ORCHESTRA.-Violin, Violoncello, Clarionet, Oboe,

published this day: La Gassier Valse, 2s.; Minuet and Trio from Mozart's Symphony in E flat, price 3s.: Le Bijou Perdu, Chanté pyr Cabel, 38.; Mazurka Brillante, 4s.: Romance sans Paroles, 48.; Partant pour la Syrie, 3s.; Rigoletto Fantaisie, 4s.-Boosey and Sons, 28, Holles-street.

MAD
ADAME GASSIER.-The celebrated Valse, sung by

Madame Gassier, in Il Barbiere di Seviglia, arranged for Pianoforte by Madame Oury, price 2s., with a Portrait.-Boosey and Sons, 28, Holles-street.

of classical music, imported from the Continent, for the above instruments, is to be disposed of at a greatly reduced rate. A priced catalogue is just ready for Six pence, free by post. 28, Holles-street.

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NORDMANN. DI QUELLA PIRA, Morceaux de VIOLIN QUARTETS.-The splendid stock of Violin

Trovatore. Price 3s. Boosey and Sons, 28, Holles-street.

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Quartets inported by Messrs. Boosey and Sons, is to be disposed of at a greatly reduced rate. A complete catalogue, free by post, for six stamps, Boosey and Sons, 28, Holles-street.

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THE

CONCERTINA

MISCELLANY, edited by

George Case. Subscription 21s. per annum. A number is issued the 1st of the month. Price to non-subscribers, 2s. 6d. Already published:-No. 1. Fantaisie sur Masaniello (Concertina and Piano), Auber; No. 2. Selection from the Creation (Concertina and Piano Concertante), Haydn; No. 3. Selection from Lucia di Lammermoor (Concertina Solo), Donizetti; No. 4. Fantaisie on Irish Airs (Concertina and Piano). National; No. 5. Selection of French Airs (Concertina and Piano) National; No. 6. Fantaisie on Guillaume Tell (Concertina and Piano Concertante), Rossini; No. 7. (for July) contains a selection of dance music (Concertina Solo.) Boosey and Sons, 28, Holles-strect.

REGONDI'S NEW MUSIC for CONCERTINA and

PIANO, admirably arrranged for Amateurs. Les Huguenots, four numbers, 38. ench. Robert le Diable, three, 3s. each. Puritani, two, 4s. each. Lucia, two, numbers, 3s. each.--Boosey and Sons, 28, Holles-street.

BOOSEYS UNIVERSAL FLUTE PRECEPTOR, by 4s, each. Ernani, three, 38. each. Rizoletto, three, 38. each. Sonnambula, six

Clinton. (cloth gilt). Boosey and Sons, 28, Holles-street.

BOOSEYS' UNIVERSAL

CORNOPEAN TUTOR.

Edited by S. Jones. 63. (cloth gilt). In a few days. Boosey and Sons, 28, Holles-street.

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METHOD. Edited by J. Wass. 6s. cloth gilt. Boosey and Sons, 28, Holles-street.

LA SONNAMBULA, for Flute Solo, by Clinton. 2s. 6d.

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complete. Boosey and Sons, 28, Holles-street.

A SONNAMBULA, for Concertina Solo, by Case. 4s.

complete. Boosey and Sons, 28, Holles-street.

LA STELLA DEL NORD (L'ETOILE DU NORD), a

Lyric Play, in three acts, the Music by G. MEYERBEER. The Libretto adapted to the Italian Stage, and translated from the French of E. Scribe, by Manfredo Maggioni, as represented at the Royal Italian Opera, Covent Garden, July 1855. N.B.-This Libretto is under the protection of the International Copyright Act; any one pirating the same wil be legally proceeded against. Printed, Published, and sold exclusively by Thomas Brettell. Rupert Street, Haymarket. To be had at the Royal Italian Opera, Covent Garden; also of all the principal Booksellers and Musicsellers. Price 1s. 6d.

MUS: BAC., OXON.-The Exercise, written for the

degree of Bachelor in music, by Richard Hacking, Junr. Bury, Lancashire, being a sacred Cantata for five voices with orchestral accompaniment entitled "Judgments and Mercies," and performed before the University of Oxford in commemoration week, June 18th, 1855, will shortly be published by subscription, in vocal score, with an accompaniment arranged for the orgau or Pianoforte. Price 10s. 6d. Subscribers' nan.es received by the Author.

MPORTANT TO LEADERS OF BANDS, &c.-The

are published this day. price, for full orchestra, 58.; septet, 3s. 6d.; also, the fifth edition of the Pianoforte copy. Price 2s. Boosey and Sons, 28, Hoiles-street,

Published by Jons BOOSEY, of 27, Notting Hill-square, in the parish of Kensing ton, at the office of BooSEY & SONS, 28. Holles-street. Sold also by REED, 15, John-street, Great Portland-street; ALLEN, Warwick-lane; VICKERS, Holywellstreet; KEITH, PROWSE, & Co., 48, Cheapside; G. SCHEURMANN, 86, Newgatestreet; HARRY MAY, 11, Holborn-bars. Agents for Scotland, PATERSON & SONS, Edinburgh; for Ireland, H. BUSSELL, Dublin; and all Music-sellers. Printed by WILLIAM SPENCER JOHNSON, "Nassau Steam Press," 60, St. Martin's lane, in the Parish of St. Martin's in the Fields, in the County of Middlesaz.Saturday, July 21, 1855.

SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order, to BOOSEY & SONS, 28, Holles Street, Cavendish Square.

VOL. 33.-No. 30.

REVIEWS.

SATURDAY, JULY 28, 1855.

PRICE 4d. STAMPED 5d.

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No. 1. POPULAR AIRS FOR THE HARP. By. F. Crowdy.

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2. Sir Henry Bishop's admired Ballad, "HOME, SWEET HOME," with Variations for the Pianoforte by R. Andrews.

3. "LES PIRATES," two Polkas for the Pianoforte, by John Sewell.

4. "LA BARCHETTA SUL FIUME," Caprice Brillante pour le Piano, par Charles Salaman.

5. "LA POVERETTA," Morçeau Brillant pour le Piano, par Charles Salaman.

6. "CAPRICCIO ON A MELODY BY CHERUBINI," for the Pianoforte, composed by Charles Salaman.

7. "IL RIPOSO E L'AGITAZIONE," two "Romances, sans paroles," pour Piano par Charles Salaman.

8. "RONDO NEL TEMPO DELLA GIGA," for the Pianoforte, by

Charles Salaman.

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12. "THREE POLKAS," by Francesco Berger.

13. "THE STONEHENGE POLKA," by Thomas Lloyd Fowle.

14. "THE SIEGE OF SEBASTOPOL," Grand March, for the Pianoforte, by W. R. Braine.

No. 1 is a set of twelve popular tunes, " collected and partly arranged" for the harp. What Mr. Crowdy means by "collected" we are not able to guess, the airs themselves being of the commonest and new at hand. Some idea of his "partly arranging," however, may be gathered from the following slip-shod bars (among others nearly as bad) in "Rule Britannia"-the proper bass to which, one would have thought, ought to be familiar to every tyro :

Poor "Annie Laurie," too, gets scurvily treated:Con molto espressione.

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We are at a loss to conceive how anything so clumsy and unmusician-like as these "part-arrangements" (with their misprints to boot) can have passed through the hands of the engraver. Is it indispensable that music, even the simplest, should be spoilt to suit it for the harp? It would almost appear so, if we may judge from the examples presented in this "collection."

No. 2 consists of a mild arrangement of the Spanish melody (not Bishop's), called, in England, "Home, sweet home;" some mild variations in arpeggio; and no end of shakes-the whole very smooth, harmless, insipid, and quite uncalled for.

Mr. Sewell's first polka ("Les Rivales"-No. 3), is lively enough; but why does he announce it, at the end of a short introduction, after this singular fashion:

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We fear these "rivals" will be left by the musical public to fight out their own battle.

The five pianoforte pieces of Mr. Charles Salaman (Nos. 4, 5, 6, 7, and 8) deserve more than a passing word. They are essentially good music, and being of moderate length and moderate difficulty, are very generally available. Another thing in their favour is that they are all

Again, we have the second portion of the air elaborated, by means original-not hashes, made out of dainty slices from the last new operas of an inner part :---

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and seasoned with the pepper and salt of arpeggios and traits de bravoure, but movements planned and accomplished by aid of materials from the composer's own brain. The only exception is a capriccio in E flat, the theme of which-a melody, as simple as it is charming, from one of the operas of Cherubini-is treated in a musicianly manner and developed into a movement which has something of the characteristics of Dussek, while modified by passages of a more recent style. We recommend this little piece earnestly.

"La Barchetta sul fiume" (No. 4) is longer, but not quite so much to our liking. Considering the dimensions of this piece, we find too much of it in the same keys-A flat and E flat-while the episode (in E flat)

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