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PROVINCIAL.

POCKLINGTON, YORKSHIRE.-A concert was given in the Odd Fellows' Hall, on Wednesday last, the 17th instant, by Mr. D. Lambert and Mr. Rayson. The vocalists were Mrs. Sunderland, Messrs. Smith, Barker, Rayson, and Lambert. Mr. Rayson presided at the piano-forte. The concert concluded with the National Anthem.

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WORCESTER.-The annual Amateur Concert took place at the Music Hall on Tuesday, the 16th instant, which was attended with great success, and realized upwards of £100 for the Patriotic Fund. The hall was tastefully decorated with flags bearing the inscription of Alma, Inkermann," etc., and evergreens. Mr. Done, the organist of the cathedral, was the conductor. Signor Vera accompanied several of the songs, and Mr. R. Blagrove directed the concertina performances. The singing of Miss Sandys and Mrs. Dudley Wards was much admired, and Miss Hassell's, Lady Georgina Lygon's, and Mr. Peel's solos were well performed. Between seven and eight hundred of the leading families of the county and city were present. In consequence of the committee being obliged to decline many applications for tickets, a second concert, with the same performers and programme, was given on Thursday, the 18th instant, for the benefit of the Distressed Weavers of Kidderminster, for which upwards of £50 was raised. The performances were given with still greater effect than at the first.

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BIRMINGHAM.-The Rev. T. Helmore delivered a lecture on Thursday evening on Ecclesiastical Music," in the Assembly Rooms, Dee's Royal Hotel, to a crowded audience. The reverend lecturer showed the important place which music occupies in the services of the church, and lamented the neglect too common, and the want of knowledge too often shown, of the subject. He advocated the ancient, grave, and solemn style of music, in opposition to the secular and flimsy compositions generally heard in our churches. The lecture was illustrated in a very efficient manner by a full choir of volunteers, who undertook the office at short notice. Specimens were given of the Psalms and Gregorian chants, ancient hymns, motets, by Palestrina and Vittoria, and ancient Swedish Christmas Carols, which latter appeared to attract especial admiration.

LEEDS.-(From a Correspondent.)-The third Full Dress

Concert of the third season of the Leeds Musical Union was given here on Monday, the 16th inst. The object for which the Musical Union was established (by Mr. Spark and other gentlemen), was to combine all the available vocal and instrumental local talent in the performance of the works of the great masters. It was never contemplated that this could be done without metropolitan assistance; but it was not intended by the first projectors of the undertaking to spend two-thirds of the subscriptions in paying "prima donnas," "secondas," tenors, and bassos, to "let off" their everlasting Italian cavatinas, scenas, ballads, etc., to a weak pianoforte accompaniment, whilst the members of the orchestra are ground down to the meanest terms, and obliged to perform hackneyed overtures, familiar choruses, the part of patient listeners, and, too often, applauding friends. During the present season the orchestra has not only been formed from "available local talent," and thereby made a party affair, but, with the exception of a trial of one of Beethoven's symphonies at the second concert, it has not been called upon to execute a single complete work. The programmes hitherto have been confined to "shreds and patches" of operas, and second and third-class music. At the last concert, which it was stated by the committee would probably be the "best the Society had ever given," the programme (ostentatiously displayed on gigantic placards), contained in the first part some fragments from Beethoven's Fidelio, and in the second a miscellaneous selection. The chief feature, if we may judge by the applause, was Auber's chorus from Gustavus, "Long live the King," with which the occupants of the gallery were in ecstacies. The only instrumental pieces were the Fidelio overture, and the march from the Prophète, both of which were but indifferently played, though the band, as a whole, was really made up of good matériel, and capable of better things. The vocalists were Madame Rudersdorff, Madame Sedlatzek, Signor Benedetti, and

Mr.

Herr Formes, all of whom, but especially the latter, sang well and afforded general satisfaction, notwithstanding the ocasional difficulties they had to encounter from the unsteadiness of the band in the accompaniments. Willy, who led on the occasion, was of immense service in the orchestra. Mr. Burton, of the Choral Society, conducted. I may possibly trouble you on some future occasion on the subject of our People's Concerts here, at which the performance of great works are spiritedly carried on under the direction of Mr. Sparke, and also on Mr. Willy's admirable Quartet Concerts. The "Orchestral Union" performed here at the "People's" last Saturday, to a crowded audience. Mr. Frank Mori conducted. I understand that Judas Maccabaus is to be given for the benefit of the Royal Patriotic Fund very shortly.

IBID.-A dress concert was given on Thursday evening last in the Saloon of the Corn Exchange, by Miss Milner. The attendance was numerous. The pieces were selected with taste and well executed. Miss Milner was encored in "Why do I weep for thee," which she sung with feeling, and in "Non mi dir," from Don Giovanni. The overture to Masaniello was played in a spirited manner. The concert concluded with "Partant pour la Syrié,” and “God save the Queen.

IBID.-On Thursday evening, the 18th inst., Mr. Willy, the distinguished violinist, gave the first of a series of two quartet concerts at the Stock Exchange, when the amateurs of Leeds were afforded the rare satisfaction of hearing three quartets by Haydn, Mozart, and Beethoven, in a first-rate style of performance. Mr. Willy's solo, by Kalliwoda, was received with loud and continued applause. In Mozart's pianoforte quartet in G minor, Mr. Spark, at the piano, was most effective. The last solo by Mr. Willy, in which the beautiful Irish melody, "My lodging is on the cold ground," was the principal theme, was an example of so much powers of execution, combined with such finish and purity of tone as failed not to elicit hearty marks of approval. The entertainment of the evening was varied by several songs sung by Miss Senior, a lady who appears to be rising in the estimation of the Leeds public, and deservedly. Mr. J. Pew was the second violin; Mr. Bowling, who is styled in Leeds "the Prince of Yorkshire violas," the tenor; and Mr. Priestley the violoncello. The concert was a most agreeable one. Mr. Willy's second concert will be given on the

29th inst.

SHEFFIELD. (Jan. 20.)—Last night a vocal and instrumental concert was given in connexion with the Sheffield Athenæum, in the Music Hall, which appears now almost too small to contain the members of the institution and their friends. The caste consisted chiefly of the party so well known to the musical world as the Orchestral Union, with additions from the Royal Italian Opera and the Philharmonic societies, and with Miss Milner as the vocalist. In the unexplained absence of Mr. Mellon, the conductor, his office devolved upon Mr. Frank Mori, who sustained the arduous part carefully and well. The selection was admirable-the music good enough to please the most fastidious, yet of a sufficiently popular character to be universally pleasing. The performance opened with Rossini's favourite overture to La Gazza Ladra, very well and effectively given, as was also Beethoven's Leonora. It is difficult to criticise the efforts of such a band, except by wishing that there were more of them, yet the admirable balancing of the parts would almost cause us to regret any change. The gems of the first part were Mozart's delicious air, "Non mi dir, bell' idol mio," very feelingly sung by Miss Milner, and Spohr's dramatic concerto for the violin, played by Mr. H. C. Cooper in first-rate style. In the second part Miss Milner was encored in "Why do I weep for thee?" and also in "Lo, here the gentle lark !"-and Herr Hausman received a similar token of approbation in his violoncello fantasia, which, however, he seemed unwilling to comply with. The concert concluded with "God save the Queen," and "Partant pour la Syrie."-Sheffield Independent.

GLOUCESTER.-Willing, organist of the Foundling Hospital, London, gave an organ performance at the Shire Hall, on Thursday evening, the 18tli instant-the proceeds to be devoted to the Patriotic Fund.

FOREIGN.

HAMBURGH.—The erroneous notion that England is at present poor in musical talent has been triumphantly disproved. Arabella Goddard, an English pianist, played at the last Philharmonic Concert and created a furore. Arabella Goddard, with whose fame the English papers have been filled for some years past, and who is generally called upon to heighten by her talent the attractions of concerts in the fashionable world, and the principal musical entertainments, was, up to the present time, little known in Germany. She gave a few concerts in Stuttgart, Augsburg, and Munich, and afterwards appeared at the Leipsic Gewandhaus Concerts. The young artist, who is under twenty years of age, was born in France, her parents having resided in Paris until the Revolution of 1848, since which period they have lived in London. Outward and inward excellence are most gracefully united in her case. She presents the most perfect picture of tender, kind good nature, when seated at the instrument, which, however, is completely under her command. To the most classical and perfect technical skill she adds geniality of conception and a freshness of expression, reminding one of the youngest and most charming of German pianists, whom, perhaps, she surpasses in clearness and delicacy. Besides Mendelssohn's concerto in G minor, she played, on Saturday, in the most perfectly beautiful manner, a fantasia by Thalberg, to which, after being enthusiastically encored, she added, Stephen Heller's" Auf Flügeln des Gesanges" improvisation on one of Mendelssohn's beautiful airs. We hope we shall not be accounted indiscreet if we subjoin the opinion of an experienced master on the young artist. Capellmeister Lindpaintner of Stuttgart recommended her to one of the first musical notabilities of Berlin, in the following words :-"I accompanied her in London four times in grand concertos (Beethoven, Mozart, Mendelssohn, and Sterndale Bennett) in the New Philharmonic Society, and was so deeply affected by her fire, technical skill, intellect, and good taste, that I exclaimed, on several occasions, 'C'est une Satane sous les formes d'un ange.' She plays everything, from Bach to Chopin, equally well. But what excited my admiration the most, was her execution of Beethoven's last sonata in B flat (Op. 16), which she played from memory." The artistically educated public of Berlin will be instrumental in establishing on a still firmer basis the reputation of this young artist, and duly appreciating her superiority and peculiarities. The third Philharmonic Concert on the 13th inst. It begun with a new symphony in E flat, by our compatriot L. Lee. The directors merit the thanks of all lovers of music, since they never hold back when their assistance is required by a talented fellowtownsman. This readiness on their side has not been unrewarded. The composition which Herr Lee, as conductor, himself introduced to our notice, contains so much that is good, that in spite of its length, it succeeded in rivetting the attention of the audience. The Scherzo is the best movement. The composer, who conducts well, was, however, greatly indebted to the members of the orchestra, who displayed more than ordinary zeal, thus contributing their share to the success achieved by the work. After the symphony came two excellent solo players. Miss Arabella Goddard performed Mendelssohn's concerto in G minor, with as much fine and delicate expression of feeling as finished technical skill, proving that England can produce great virtuosi as well as other countries. The enormous certainty and dexterity of her playing harmonized most satisfactorily with the truly plastic calm, which did not one moment desert her. This calm bears perhaps some analogy to the death-despising coolness with which the English Regiments quietly stormed the heights of Alma (!) but in no degree acted prejudicially on the power of the soul to devote itself fully to the composition, or, in other words, on the poetical element. This was particularly apparent in the Lied which the gentle artist added as a free offering to the enthusiastically excited audience. The other soloist, Herr Hildebrand Romberg, does not require our praise. . . . The concert was brought to a close by Beethoven's symphony in C minor.-Hamburger Correspondent.

COLOGNE.-Herr Richard Wagner's Lohengrin was given for the first time in this town on the 11th inst. The house was but poorly attended, and the applause anything but enthusiastic.

DARMSTADT.-On the 27th ult., a new opera, Die letzten Tage von the Rev. Peter Müller, Pastor of Staden, in the Hessian Wetterau, Pompeji (The Last Days of Pompeii), was produced. The music, by a man of advanced age, possesses considerable merit. It is to be regretted, however, that the composer has paid so little attention to the works of the last fifty years, and the progress made from that period in the art of instrumentation. The libretto, by the son of the composer, is a poor affair. Malle. Emilie Krall has been very successful in Mr. Balfe's Zigeunerin (Bohemian Girl). MANNHEIM.-The new theatre will shortly be opened with Die Zauberflöte.

MUNICH. A new operetta, Die Untersberger Mann'ln, illustrating Bavarian national manners, has been successful. The music is by Herr von Perfall, and the libretto by Herr Franz von Kobell.

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ROTTERDAM.-The Netherlands Society for the Advancement of Music has lately elected the following artists as members :M. Hector Berlioz, Dr. F. Liszt, Herr Richard Wagner, Herr Robert Schumann, Mad. Clara Schumann, Mr. Henry Litollf, Herr Taubert, and Herr Dorn (of Berlin); Herr Smits (Amsterdam); Herr Cossemaker, Mr. Macfarren (London); Sig. Santini (Rome); Herr Dupont (Detmold); and Herr van Eycken (Elberfeld).

VIENNA (From our own Correspondent).-The only novelty at the Imperial Opera-house, has been the appearance of Mdlle. Schmidt from Gratz, as Valentine in the Huguenots, and Alice in Robert le Diable. She was a failure. A new quartet, by Herr Grutsch, was performed at the fifth of the Hellmesberger quartet soirées. It pleased very little. The other pieces in the programme were Beethoven's trio in B flat for pianoforte, violin, and violoncello, and Mendelssohn's posthumous quintet in B, the same key. M. Lacombe, the French musician, gave his third concert on the 14th inst., and played several of his own compositions. The room presented a very empty appearance. BERLIN. (From our own Correspondent).-La Sonnambula was to have been performed at the Royal Opera-house, but, on account of the sudden indisposition of Mdlle. Agnes Büry, Fidelio was substituted. The first series of the Sinfonie-Soirées was brought to a close, last week, by the sixth concert. The programme included Mendelssohn's symphony in A, Beethoven's Sinfonia Eroica, and an overture to Maria Stuart, by a young living composer, Herr Vierling, which was well received. The concert went off with great éclat. Mad. Parish Alvars' concert was attended by some of the most fashionable dilettanti. Herr Steifensand gave a matinée at his own residence, and, with Herr Ries and Dr. Bruns, performed Mendelssohn's trio in C minor. He afterwards played, alone, Beethoven's fantasia for the piano, Op. 77, which is seldom heard. Herr Kéler Bela has received a gold medal, accompanied by a letter, from the Duke of Anhalt Dessau, for a march in honour of the marriage of the Princess Maria Anna with Prince Friedrich Carl of Prussia. The Capellmeister of the Kaiser Franz Grenadier Regiment is at Coblenz, to arrange the music of the liturgy in the court and military protestant church, as it is sung in the Domkirche of Berlin. Herr Bazzini has gone to Hanover.

NEW YORK.-(Jan. 4.)—Madame Grisi and Signor Mario, with the remainder of their company, have sung their last in New-York for the present. There has been no novelty, with the exception of Don Pasquale, the favourite comic opera of Donizetti. Signor Susini, who was to have assumed the character of the old be-fooled Don, was so unwell as to be unable to sing; but his place was very ably filled by Signor Rocco. Signor Badiali was good, as he always is. Madame Grisi was most excellent as the lively widow. Her acting throughout was fascinating; especially the change from the bashful, modest, young girl, who had never before left her convent, to the termagant and scold. Signor Mario had a cold, and of course could not exert himself in the least, except in the beautiful serenade, and the duo following with Madame Grisi. And thus closes an engagement which has not been successful, in pecuniary respects.

On Christmas evening, the management gave Händel's Messiah at the Academy of Music, having secured the services of the New York Harmonic Society. The solos were sustained by Mrs. Stuart, Miss Brainard, and Madame Vietti-Vertiprach, Mr. Johnson, and Signor Badiali.

THE MUSICAL WORLD.

The English Opera Company at Niblo's have continued their performances to only tolerable houses. The only new opera in which they have sung since our last is Balfe's Bohemian Girl, which we have as yet not found time to hear. We understand that the engagement of this company has not been found as profitable as was anticipated, and will consequently soon close. Of the performance of the music of the Beggar's Opera there Neither Miss Louisa Pyne nor Mr. is very little to be said. Harrison seem to have the least conception of their roles. Miss Louisa sang and acted precisely as she did in Sonnambula, Maritana, etc.; and Mr. Harrison, dress him as you please, is Of course, there was some music introalways Mr. Harrison. duced for Miss Pyne's trills, runs, and scales. Mr. Eisfeld, conductor of the Philharmonic Society, has given his second soirée. Quartets by Ries and Haydn were very well performed, and Beethoven's sonata in A, for pianoforte and violin, was well rendered by Messrs. Hoffman and Burke. Mrs. Stuart sung an aria by Spohr, and a cavatina from Mercadante. There was a full house.-New York Musical Review.

REVIEWS.

"VOLA IL TEMPO' "AMAMI"-romanza; "IL MARINARO"-barcarola; "Io T'AMERO -romanza; "LA PRIMA LAGRIMA"-romanza;

-romanza.

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We trust that the story is not true, or that
ments of his popularity.
his hands to "do" these national themes for the pianoforte, as experi-

not so contracted as to preclude their appreciating new ideas, which the
music-sellers' schemes would seem to favour.
the publisher's judgment is wrong. Surely the taste of the public is

"UNA SERA D'AMORE"-Notturno a due voci; "MADRE DEL SOMMO
AMORE"-Terzettino; "LE DUE FANCIULLE"-Duettino. Music by
Signor Campana. Boosey and Sons.

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What has been said of the songs above applies just as well to those light and pretty concerted pieces, The most attractive of them, in our opinion, is the little duet in D-"Le due Fanciulle"-which is extremely simple, but extremely pleasing. The longest-" Madre del Sommo Amore"-holds out promise of more than it accomplishes. The canon," as it is called; but theme would have well suited a round, or Signor Campana has not exerted much ingenuity in its development. passages, among which may be cited the whole of the episode in E The terzettino, however, is voiced with skill, and contains some graceful minor, beginning on the words-"Vogli all' afflitto"-which displays very considerable musical sentiment. The notturno for two voices"Una Sera d'Amore"-in D flat, is of the Rossinian cast, and by no means without merit. But in the next edition Sig. Campana will do wisely to alter the position of the harmony, in bars 2 and 3, page 1, line the last, where consecutive octaves (D E-D E) occur, between the top voice part and the bass. No spots should be left on such elegant miniatures.

MUSIC "LAID ON

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Music by Sig. Campana. Boosey and Sons. M. MEYERBEER is at present in Dresden, superintending the rehearsal of his last chef-d'œuvre, the semi-comic opera of These are of the better sort of Italian drawing-room music, in the L'Etoile du Nord, which is to be produced with unusual manner of that graceful composer, Sig. Gordigiani, though seldom so happily inspired. They are well written, and fluent, and have that Such splendour and completeness, LIKE GAS.-At the Polytechnic, a band easy far niente air about them which is rarely unattractive, and which is the special characteristic of Sig. Campana's countrymen. music is sung and played with as much facility as it is produced; and different instruments, by means of thin rods of wood, each with as there can be little doubt that the author found pleasure in making playing in a distant apartment is unheard; but connect the (we can hardly say inventing) them, so we may assure him that few can listen to them without a certain degree of pleasurable emotion. The epi- the sounding board of a harp in the lecture theatre, and the thet "pretty" may be fairly applied to all the five; but one or two of the music is audible to all as if it were present. The experiments A well-known joker, at the private view, set are pretty, and something besides. We would especially call attention prove, what we have often speculated on, that music might be gas or water. band-ditty" company on the to "Amami," an extremely elegant romanza, composed expressly for Sig. laid on to the houses of a town from a central source, like Mario, and perfectly suited to the style of that accomplished tenor. The accompaniment to this is unaffected, and at the same time artistic. proposed the establishment of a STOLEN MUSIC PAPER.-Mrs. Dale, the wife of a beer-house The barcarola, "Il Marinaro," dedicated to Sig. Belletti, the well-spot.-The Builder. known barytone, is also worthy notice, as a pure Neapolitan melody, The coda "La, la, la, ra, la, la," is piquant and keeper, in Turner-street, was placed before the city magistrates, lively and catching. effective. The romanza, "Io t'amerò," however, which will suit the majo- charged with being in possession of a large quantity of music paper, which had been stolen from the London and Northrity of voices, is the chastest melody of the whole; and if Sig. Campana Western Railway Company. It had arrived in Manchester on the 16th of November, addressed to Messrs Hime and Addison, would change the position of the common chords in the bass at the top of page 2, in the first two bars-so as to avoid fifths and octaves-it would be as correct as it is chaste. The romanza, “La prima lagrima,” stated that a man brought a parcel to the house, and agreed to is more pretentious than the other; but though it has some good and was stolen from the station on the following day. Mrs. Dale points, we also find it more common-place. It contains, moreover (instance the chords at the foot of page 4-A flat, F, A flat, F-and lodge there. He borrowed ten shillings, and left the parcel as elsewhere), reminiscences of the "Soirées" of Rossini, which are any-security; he did not return, and then for the first time she ascerthing rather than improvements on the original. The romanza, "Vola tained what the bundle consisted of. As he did not come for it, il tempo," commences, gloomily enough, in the minor key; but the her husband told her to sell it. Mr. Rigge, on behalf of the melody, in F major, to the words, "Vola il Tempo e l'Uom rimuta," etc., prisoner, said that some of the paper had been sent to a regular is broad and flowing. Altogether, these little songs have decided auctioneer for sale. Mrs. Dale, on her own recognizances, was merit, and well deserve attention. They are quite as well suited for remanded for a week. school-teaching as for holiday recreation.

"MY FIRST SEASON," Six Operatic Souvenirs. No. 1-La Sonnambula; 2-Rigoletto; 3-Les Huguenots; 4-I Puritani; 5-Don Pasquale; 6-Charles. W. Glover. Metzler and Co.

Mr. Glover has chosen an appropriate title for his little effusions. No young lady of the most limited capacity would indulge her friends to these six pieces after her first season. She would have heard the "Operatic Souvenirs" so many hundreds of times in one form or the other that no doubt she would seek for something less common-place than Mr.Glover's When will our composers write tunes, We believe arrangements of them. instead of introductions and variations to Italian arias? rises but on some new arrangement of "La We the sun never Donna e Mobile" and the finale to La Sonnambula. are really tired of the fantasia generation, and unless friends can present us with a really fresh brushing up of threadbare operatic melodies, we caution them against falling foul of our indignation. It is quite time for the Bond-street manipulators to leave off playing the changes on Bellini and Donizetti, and we may add "Rule Britannia and "God save the Queen." There is a report that one publisher of conspicuous energy employs every arranger and composer who falls into

our

THE MUSIC OF THE POLITICAL SPHERES.-On the proposition of Sir Fitzroy Kelly, a clause has been inserted in the Bribery Bill to prevent the employment of bands of music at elections This arrangement will be rather hard on all the trumpets, trombones, and other "brazen engines whose rude throats" have been hitherto employed in providing a sort of nominal harmony at a contested election. We think that all the Green Baize bands in the kingdom are entitled to ask for compensation for the loss they will sustain by this rather harsh enactment. A band was a most useful appendage at a contested election, for even the most short-winded of brazen instruments was preferable to the long-winded and equally brazen of those who are in the habit of making themselves the instruments of rival candidates. A bad polka is always better than a bad speech, and we would rather hear even Mendelssohn murdered on the ophicleide than Lindley Murray murdered on the hustings. As the bribery formerly done, to a pretty tune, it is perhaps thought that by bill is intended to prevent candidates from paying, as they have doing away with bands, a stop will be put to the practice of paying to any tune whatever.-Punch.

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NOTICE.

In accordance with a new Postal Regulation, it is absolutely necessary that all copies of THE MUSICAL WORLD, transmitted through the post, should be folded so as to expose to view the red stamp.

It is requested that all letters and papers for the Editor be addressed to the Editor of the Musical World, 28, Holles Street; and all business communications to the Publishers, at the same address.

CORRESPONDENTS are requested to write on one side of the paper only, as writing on both sides necessitates a great deal of trouble in the printing.

TO ORGANISTS.-The articles on the new organs, published in the volume for 1854, will be found in the following numbers: 28 30, 32, 33, 34, 36, 37, 38, 42, 45, 47, 49, 51.

TO CORRESPONDENTS.

HER MAJESTY'S PRIVATE BAND.-Had not TRUTH better wait to see if any answer is given to the communication from A CHORUS SINGER and himself, before he pursues the matter further for the present?

tral Autocrat. On this point, therefore, there can be no suspicions. "L'Etat-c'est moi!"-said Louis XIV. "I am the Philharmonic!"-thought Michael Costa, and with not less reason.

Rumour again led people to believe, that ill health and excessive fatigue had led Sig. Costa, after a long and obstinate struggle, to the determination of abandoning But some portion of his arduous professional labours. this on dit was no better warranted than the others. Sig. Costa was never in ruder health, never stouter, never in higher spirits, never more active, regular, unbending and expeditious at rehearsals. Besides, if Sig. Costa was desirous of recruiting his physical forces by a partial diminution of his responsibilities, he would scarcely have begun with the Philharmonic Concerts, the direction of which, it is notorious, was with him a favourite pastime and a recreation. Sig. Costa loves a symphony just as "Tommy Moore" loved "a lord." You may know a man by the company he keeps. About the symphonies of the great masters there is a certain odour of aristocracy, which it is as well to wear on your sleeve, if not in your heart. Symphonies are good company, not to be acquainted with which argues mauvais ONE OF COSTA'S ORCHESTRA.- We cannot print the letter without ton. This would have ill-befitted Sig. Costa, who, being the name and address of the writer-" not necessarily," we wise as well as aspiring, proceeded to the Philharmonic, repeat, "for publication, but as a guarantee of good faith." If waved his wand, and became incontinently familiar with all our correspondents will place no trust in us, how is it to be "the Nine." It was now 66 Hail, fellow, well met!" between supposed that we can place any in them? the Italian and the Teutons (Titans!) Sig. Costa had lifted FANATICO. The Royal Italian Opera will open this season, and his arm, if not his soul, to Beethoven. Moreover, what most probably with Sig. Verdi's new opera, Il Trovatore. were eight concerts, eight rehearsals, and seven directors VIOLINO.-Archangelo Corelli died in Paris, on the 18th of (huis-clos), to so indomitable a spirit and so fierce a January, 1713, and was buried in the Panthéon. Our Corres- stick? What but mere child's play? Had Sig. Costa pondent is, therefore, nearly half a century wrong. entertained an idea of drawing upon the future for a slice AN ENGLISH MUSICIAN.-Mr. Sterndale Bennett has published of the otium he is destined to enjoy "with dignity," he four concertos-No. 1, in D minor; No. 2, in E flat; No. 3, would have gone at once to the fountain-head and "broke" in C minor; No. 4, in F minor. He has played two others, in F minor and A minor, which have never been published. with Mr. Gye and the Italian Opera; or at least have retired The two performed by Miss Arabella Goddard at Exeter Hall, upon half-pay from the command of the "700" (including for the New Philharmonic Society and the Harmonic Union, 16 double-basses) at Exeter Hall. For these are onerous were Nos. 3 and 4. She has not played the No. 2. We believe duties in comparison with beating time in the Hanover Square Mr. Bennett has never composed either a violin concerto, or a Rooms to the flowing measures of Beethoven and Mozart. quartet; but he has written six symphonies, and a great many Ill health and fatigue had therefore nothing to do with the matter-no more than want of exercise on foot or horseback, vapour baths, cold water, or Dr. Roth's gymnastics. A more general but just as baseless rumour insinuated that the frequent attendance of Sig. Costa in the palaces of Osborne, Windsor, and Buckingham-at the joint desire of the Queen and Prince, who are known to be extremely partial to the illustrious foreigner (no prophet, by the way, in his own country, nor any great pet of King Bomba's)-engrossed so much of his time, that he had little or none to bestow elsewhere, and was about to vanish, like a dying meteor, from the atmosphere of public life. Not so. Sig. Costa can find time for his Palatial duties, for the oratorios in the Strand, for the operas in the Garden, and for the soirées of Nobility; but not for the Philharmonic Concerts. This may seem a paradox, since the "Philharmonic" absorbs less time and pains than the rest; but what then?-why not a paradox ?—are we all so logical in this little world of music?

concert-overtures.

THE MUSICAL WORLD.

LONDON, SATURDAY, JANUary 27th, 1855.

As many unfounded reports are current about the causes that may have induced Sig. Costa to resign the conductorship of the Philharmonic Concerts, it is well to make known what we have heard stated on good authority as the real and only motive of his secession. There has been no 66 passage of arms" (which some imagined) either against the directors as a body, or any of them individually. Not even has a difference of opinion arisen (which many surmised), on any point of importance, between the "Seven" and their ex-conductor. On the contrary, there was never (which few believed) a more perfect unanimity. And, indeed, a glance at the names of the committee of management will at once convince those at all acquainted with Philharmonic policy and obsequience, that the Senatus of His Majesty, Louis Napoleon, would not be likely to exhibit a more passive obedience to the Imperial will than the body legislative of Hanover-square to the behests of the Orches

There is, however, yet another bruit-for Rumour has many tongues, and can wag them all together—a bruit, which, even in the face of paradox, we are inclined to believe, has some foundation. Signor Costa requires time for a special purpose. He cannot give up Exeter Hall, since the study of Händel and Mendelssohn is now his chief delight; nor the Royal Italian Opera, since the appointment is a fat one and brings

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But the conductorship of the Philharmonic Concerts was simply a post of honour, which-although Signor Costa sacrificed Her Majesty's Theatre, in 1845, that he might be at liberty to accept (having committed himself already to the scheme of the Persiani opposition at Covent Garden Theatre), was to be accounted as a straw in the balance. The sacrifice of the Haymarket was no sacrifice at all, since the appointments of Signor Costa (somewhat diminished since), as "Director of the Music, Conductor, and Composer," at the newly-created Royal Italian Opera, were nearly double what he received from Mr. Lumley. The Market was less profitable than the Garden; and Signor Costa preferred the fruit to the straw. He liked better to be comforted with apples than fed upon chaff; and he was right. But now, the end attained, the symphonies known and ransacked of their treasures, nothing was left but an empty post of honour; and a junction having arisen which entailed upon Signor Costa the necessity of declaring the price he set upon it, we are hardly surprised to find it down at zero.

After all, 120 guineas, for eight concerts and eight rehearsals, was a low figure for one like Signor Costa, who has done so much to sustain the tottering fortunes of the Society. Mendelssohn, when he conducted six concerts and rehearsals (in 1844-the most prosperous season ever known), received 30 guineas for each. But Mendelssohn was a nonresident, who came from Leipsic expressly; and there was no restriction then, as now, against vesting the bâton in any native or foreign musician who might be resident in England. (Eccleston Square is not at Pimlico, but at Naples).

We have yet to state, however, the nature of the rumour which we consider well-founded. It is briefly this. Sig. Costa has been for some time engaged in the composition of an oratorio, which was planned and partly completed in the Isle of Wight. This oratorio accepted (probably demanded) by the committee of the Birmingham Festival, is to be performed on the 30th of August, 1855, at the Town-Hall. M. Meyerbeer having declined to produce an oratorio immediately in the wake of Elijah, Sig. Costa, less doubtful of his resources, consented. Voilà tout.

MR. ANDERSON, Director of the Philharmonic Society, has returned from Zurich, in Switzerland. His mission has been successful. Herr Richard Wagner has agreed to conduct the first series of eight concerts, for a consideration of £200, on the strength of which he intends henceforth residing in England, with his family. Among the attractions of the season will, no doubt, be comprised large slices from Cola Rienzi, The Flying Captain, Tannhäuser, Lohengrin, &c.-besides an Apparition or so of Franz Liszt, the Herald who has blown the trumpet and cracked his cheeks on behalf of the Music of the Future. Herr Wagner will have a broad field for his speculations in this free country, where any one may think and write as he pleases. Now is the time for an adventurous publisher (Mr. Sampson Low?) to translate and print "the tracts." The new Gospel of Harmony, the Gospel of St Richard, should be preached in advance; or when the apostle comes he may not be understood. That would be a pity. We are doing our best for him, with the assistance of one of our most valued contributors, whose translations of Herr Sobolewski's Reactionary

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Letters will be devoured with a keener appetite since that the
result of the Philharmonic mission has come to light.
Bull, he will accomplish what his prophet, Liszt, could not—
If Wagner conquers England, and wins the heart of John

even in his prime, before his hair

"Was greyly scattered o'er his thoughtful brow." The Philharmonic Directors must be up and stirring. They have got Richard, and must make the most of him. We already read, in the Daily News, that half Germany is pitted against the other half, in a contest about his merits. But this is only half and half. The Society must go to work stoutly-XXX and wholesale. What is the use of a lettered secretary-one who writes English as well and to the point as Kohler, Pohl, Brendel, Liszt, or any,of the tractarians? Let the book of Kuntswerk der Zukunft be put into his hands, reduced into vernacular, and published in the Illustrated London News, with portraits of Herr Wagner, his herald and his apostles. The book of Opéra et Drame may follow, when a clear understanding has been come to with Mr. E. T. Smith, who yearns for some startling novelty, to replace the pantomime and stop up the gap which has been left by G. V. B.

Our readers may not be acquainted with the philosophic system of Herr Richard Wagner. It is simply this. Where there is a concurrence of arts, in a work of art, no one art must be "insulted" by being assigned a position subordinate to the rest. Thus, in an opera, the poet, the scene painter, the decorator, the costumier, the machinist, the dancing-master, and the composer must all play an equal part, so that they may march from the theatre, arm in arm, thoroughly satisfied with each other and themselves, assured that not one of the "seven" has done more or less than the others to delight and edify the public. On this plan the seven directors of the Philharmonic might concoct a Lohengrin among them.

The manner in which Herr Wagner carries out his system is peculiar. It is not with him, in the language of Wordsworth

"We are seven-"

but, simply, I am seven ! Herr Wagner is his own poet, scene-painter, decorator, costumier, machinist, dancingmaster, and musician. Like Hercules, he performs all the seven labours himself; and this is why he will not have any of the arts he represents "insulted" by being made subordinate. His own dancing-master, he cannot sanction the prostration of Terpsichore at the altar of Euterpe respecting himself not less highly as an inventor of pirouettes than as a composer of music. Moreover, Herr Wagner is his own chef-d'orchestre, and knows how to conduct himself; and finally, being his own critic and historian, he is better able to give an account of himself and his works than any of the profound calumniators of the pen, mis-termed "Aristarchi.”

The disciples of Herr Wagner, who help to spread his doctrine, and write books, are fond of styling him the great "word-painter" (why not word-composer, word-dresser, worddecorator, word-maker, or word-caperer, as well?) This same word-painting, about which such a fuss is made, is the soul of that system of equality of arts, whereof the Kunstwerk der Zukunft is the Koran. To every word and syllable there must be an exact equivalent of music, nor more nor less; or else Wagner the poet would be apt to charge Wagner the musician with impertinence. Every personage in the septology, moreover, must have a certain musical phrase, to mark his coming and his going, whenever he comes and goes; and this musical phrase belongs to that personage and

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