From 1849 to 1854, Meyerbeer produced no new operatic work. | Meanwhile report was once more busy about the Africaine. The composer, it was said, having failed in persuading the management to engage for the principal character Mdlle. Sophie Cruvelli-of whose talents and genius he entertained the very highest opinion, and to whom alone he would consent to entrust it-had double-locked the portfolio wherein lay concealed the score of his unheard opera, and vowed, with a mental reservation, to bury it in oblivion. At all events-and this is significant-now that Mdlle. Sophie Cruvelli is about to quit the stage and retire into private life, Meyerbeer speaks no more of his Africaine. About the middle of the season 1853-four years after the Prophèteit was announced that Meyerbeer was about to bring out a new work at the Opéra-Comique. This was at first not easily credited. Meyerbeer at the Opéra-Comique was a puzzle to those who knew the composer only by his three grand operas. Could he transform his style to suit a light and popular subject? Could he forego grand incidents, passionate situations, and overpowering effects? Could he throw off the buskin and wear slippers? Could he descend from his pedestal and walk modestly among mere unobtrusive human beings? Could he dissipate his frowns and look smilingly; wipe away tears and yield to laughter? Could he be imponderous and etherial, vivacious and unaffected, quaint and spirituel? In short, could he be comic? Such were the speculations of those who had heard no other works of Meyerbeer than the Huguenots, Robert le Diable, and the Prophète, and to whom his Italian operas were entirely strange; who were unacquainted with the fact, that for many years of his early career in Italy he had taken Rossini as his model; and that several of his compositions for the Italian stage indicated a decided "buffo" vein. Moreover, it never occurred to sceptics, that a work produced at the Opéra-Comique need not of necessity be an absolutely comic opera, but might contain all the elements of a grand opera, except the recitatives. Rumour, however, was for once no liar. Meyerbeer had sent the score of a three-act opera to the Opéra-Comique, and the director had eagerly accepted it. This was L'Etoile du Nord. For eight long months the public were kept in a state of feverish excitement and suspense by the non-announcement of an opera which they were aware was rehearsed daily. At length, on the 14th of February, 1854, the bills of the Opéra-Comique proclaimed that the first representation of L'Etoile du Nord would take place, not the next day, but the following day. As soon as it was made known, the most distinguished critics of Germany, England, and Belgium, took places by the railway to Paris. The difficulty of procuring seats was very great, and tickets, purchased a day or two before the performance, were sold at high premiums. One gentleman paid as much as 115 francs for a stall the day previous to the first representation. That Meyerbeer has advanced his reputation by the Etoile du Nord, few will deny. Upon a closer examination of all his works, there is no other, in our opinion, which carries so unmistakeably the stamp of originality, which is so equal in all its parts, and which betrays so surely the marks of a thinker, and a purely musical genius. But this is not the place for an eulogium on the Etoile du Nord. Its praises have been lately sung by numberless competent judges, who, without exception, pronounced it a chef d'œuvre. The verdict will remain. It is now said that another work from the pen of the celebrated composer will shortly be sent to the Opéra-Comique. May its fame be as great as that of its immediate predecessor. Meyerbeer is Member of the French Institute; Member of the Committee of Instruction at the Conservatoire of Paris; Hon. Member of the Grétry Society at Liège; Knight of the French Legion of Honour; Director General of Music to his Majesty the King of Prussia; Member of the Royal Academy of Fine Arts at Berlin; Knight of the Order of Merit in Prussia; Knight of the Order of Leopold of Belgium, of the Order of Ernest of Saxe, and Henry-theLion of Brunswick; Knight of the Imperial Brazilian Order of the South Star;, late Chapel Master to the King of Prussia; and member of several institutions in England, Italy, Sweden, Denmark, and Germany. The private character of Giacomo Meyerbeer was thus described, in 1843, by one who was thoroughly acquainted with him, and who had known him for many years: | ing endeavours to attain perfection. For this he is to be admired as an ORIGINAL CORRESPONDENCE. MUSICAL DEGREES. To the Editor of the Musical World. SIR,-Not seeing the amusing letter of Messrs. "Fife and Drum" on the above subject, in the last number but one of the Musical World, until too late for us to hope to have any "comments" of ours, "mirthful" or otherwise, inserted in the following week's paper, you will, perhaps, allow us a place in next Saturday's publication, in which we may offer a remark or two. Without considering the very self-conceited manner in which the whole of the letter is written, or the cowardly attempt to calumniate those who, by years of study and hard application, have earned academical proofs (at Oxford) of their efficiency in the art, we will merely notice the latter portion of Messrs. "Fife and Drum's" noisy and hollow epistle, which, as we do not come under its ill-natured insinuations (not having graduated at Oxford), also affords us immense amusement. Messrs. "Fife and Drum" say, "We abstain from naming individuals, living or deceased, but we have the happiness of knowing that there are, and have been men, whose merits were so tested at Cambridge, before they received their honourable diplomas, as to leave little doubt on the minds of real musicians that Genius and Art might safely publish there their marriage banns, and there receive connubial benediction, no man forbidding; whilst many a licensed aspirant, with only his purse to recommend him, would be sent empty away-a fact too honourable to Cambridge to be forgotten or blown to the winds by the first or the fiftieth puff put forth on behalf of Oxford regenerators." Here, at all events, is a modest puff direct for Cambridge, and so very evidently blown forth, that it cannot be expected to meet with any other fate than (to use Messrs. "Fife and Drum's" own words) "to be forgotten or blown to the winds." Surely the latter-named writers are not of opinion that Cambridge alone can furnish talented musical graduates. We likewise "abstain from naming individuals, living or deceased," but we also "have the happiness of knowing that there are, and have been, men whose merits real musicians that Genius and Art might safely publish there their were so tested," at Oxford, "as to leave little doubt on the minds of marriage banns, &c." Nay, we go further, and are prepared to prove more is required by Oxford than Cambridge; more, even, in the old régime, and certainly an increase in the requirements of the new professor ought to be considered as tending to enhance the value of the degree rather than subject it to the "inflated ideas" and attempted slights of such individuals as Messrs. "Fife and Drum." Further on, these wise saws say, "But we have hinted at the dearness of a degree at the place for effectually testing the merits of the candidates;-and what do we mean? Simply this, that a man of genius may take his exercise to Oxford, quail under the sublime ordeal, and sneak away again, with only the world to appreciate what Oxford may chance to scorn, if the said genius be not rich enough in technical lore and fishy coolness to work out in his presence' (the professor's), and in the requisite number of parts, a fugue on a subject then to be administered." In reply to this parade of sublime reasoning, we would simply ask such a man of genius as referred to above, what business he would have to take an exercise to Oxford "if the said genius be not rich enough in technical lore;" for, most assuredly, if he were deficient in such a requisite, he would have to take Messrs. "Fife and Drum's" advice, viz., "sneak away again," and get the world (if he could) to appreciate what When this eulogium was written, neither the Prophète, nor the Oxford would most justly scorn. The new requisite at Oxford: for a Etoile du Nord, had appeared.-ED. M.W. "Although Meyerbeer is richly endowed with the good things of this world, his whole life is devoted to his art. It is to him his business, his recreation. Of his unwearied activity, the number of works he has produced affords ample proof; and the great improvements manifested in his last operas especially, gives the clearest evidence of his unceas candidate to write a fugue in the presence of the professor, and from a subject given at the time, is, we think, a wise and judicious step on the part of the new professor: since it will most effectually test the merits of each candidate, and set at rest any and all suspicions of undeservedness. Far from "holding on our note" for any one who occupies a position, or enjoys an honour to which he is not entitled, we should delight in assisting to unmask such an individual; but where no proof of a false position is substantiated, and where the honour of many is so cruelly jeopardised by an anonymous correspondent, we cannot refrain from calling your attention to such wrongs.-We are, Sir, yours respectfully, LABOR ET HONOR. Aug. 22, 1855. To the Editor of the Musical World. SIR,-Your correspondent, "Justitia," on musical degrees, deserves the thanks of all musicians, and most particularly of musical graduates, for the clear light in which he has set before the public the requirements of each of our Universities for the degree of bachelor in music, in publishing two letters on the subject-one written by the late professor of music, Oxford; the other, by the present professor at Cambridge. On comparing the two, it will be evident that more is required for the degree at Oxford than at Cambridge-for Oxford requires the whole of the exercise to be written in five real (vocal) parts, while Cambridge will evidently accept an exercise if only one of the choruses be written in five parts. The new desideratum at Oxford, i. e., the candidate for the degree being required to write a fugue in a given number of parts, in the presence of the professor, seems to have struck terror into the heart of a late correspondent; but why need a man fear if he feels he can perform that which he wishes the world to understand he is capable of, and which must now be verified before obtaining the recognition of his abilities by the university! If he feels he is not capable of performing all the requirements, then it would be folly in him to attempt to gain a position which we feel assured would be denied him. Surely, such a requisite as before alluded to ought to be considered a move in the right direction, and commended instead of being reflected upon as a misconception and an unfavourable sign for the musical art. "Justitia" truthfully remarks: "If the successor of the late Oxford professor is desirous of raising the standard' of musical degrees at his university still higher than formerly, so much the better, and the more honourable for the candidates who get through their examinations successfully." The examinations of candidates for degrees in arts have become much more strict of late years; and would not every true lover of the "divine art" rejoice at any steps which might tend towards the advancement of its position and interests? Respectfully soliciting your attention, I remain yours obediently, August 21st, 1855. AMPHION. To the Editor of the Musical World. 20th August, 1855. SIB, If you do not object to be made second to a challenge, we will forward two choruses for your perusal, in order that "Mus. Bac. Oxon's" excessive annoyance may have something whereon to repose; although we cannot see why either he or "Justitia" should be so upset by the remarks on musical degrees which have recently appeared in your independent journal. Had such sensitiveness emanated from a "Lambeth Doctor," we should have been less surprised. We have seen nothing in the whole range of remarks, from time to time made in your paper, to show that any one of the writers desired "to throw a wanton aspersion on those who have worked for and obtained in an honourable manner musical degrees at either of our Universities." As to our own comments last week, which you did us the favour to insert, the entire drift thereof was to neutralize the unfair effect likely to result from the injudicious praises of writers so warm in favour of Oxford, as to do Cambridge the injustice of which we complained. We, as readily as any one else, can congratulate Oxford that its musical degrees will henceforth rise in value, owing to the zeal and ability of its present Professor; but we do not, for a moment, suppose that that gentleman will approve of any unfair comparisons, to the disparagement of the sister University. "Justitia" must pardon our raillery at the Fugue exercise. We did not think it would be taken so seriously; and although we have no very great objection to the test, if not too dogmatically applied, we are still of opinion that there is equal room for display of merit in the performance on the organ at Cambridge of the composition to which the probationer A PLEA FOR CATHEDRAL ORGANISTS. To the Editor of the Musical World. DEAR SIR,-While reading the article headed "Cathedral Music," in your number of last week, one or two remarks therein struck me as Were the writer of that article a "cathedral requiring some notice. organist," he would, I think, soon find out his mistake in supposing the choir to be "always at hand" for the trial and subsequent performance of compositions whether old or new. He would quickly discover, to his heart's discontent, that there are never too many members present for the efficient performance of the daily service; and should these be requested to remain after service for any purpose, the number of excuses he would meet with on all sides would be sufficient to damp the ardour of the most enthusiastic. Then the writer enlarges upon the "respectable and often handsome amount of organists' stipends." Now I beg to remind him that a short time since, a deputation of some of our best cathedral organists waited upon the Cathedral Commissioners to "complain of the inadequate salaries paid to organists and choir-men." One word more and I have done. Will he tell us of a better school of church-music than that which we now happily possess, wherein we may educate our "embryo" organists? I beg to enclose my card, and remain, very faithfully yours, 22nd August, 1855. A YOUNG ORGANIST. [We are glad to find our articles are likely to draw forth any of the disadvantages under which Cathedral Organists labour, and shall be always ready to assist in their removal. Our correspondent appears to take the word "school" in its most limited and literal sense. If he continues the perusal of our articles he will probably discover a key to what we recommend on the subject.-ED. M. W.] AN ANSWER FOR ORGANISTS. Oakfield, Manchester, Aug. 21, 1855. SIR,-I beg to inform your correspondent, "A Country Organist," that the minister of a church has no authority whatever over the organ, the custody of which is entirely in the hands of the churchwardens, and very properly so, as they are answerable for its being kept in order and repair. The churchwardens usually delegate the care of their instrument to the organist, who, of course, cannot undertake to take charge of the organ if any other party can permit it to be used. The clergyman can direct during what portions of the service the organ shall be played, and this is the extent of his power. I can state positively that the above is a correct statement of the legal position of clergyman and churchwardens, us I have tested its truth, and heard of cases in which the question has been tried. I am, sir, yours respectfully, B. S. J. B. JOULE. ITINERANT MUSIC SELLERS. To the Editor of the Musical World. SIR, I am very glad that my letter has afforded so much pleasure to a "Professor of Twenty-three Years' Standing," and, not to be behind him in courtesy, I should have been still more gratified had lie succeeded in refuting my arguments. This is a task he has still to perform, and I leave him to accomplish it as best he may. On the present occasion, I will only make a few remarks on his last letter. Passing over, for the present, the sneer about my self-respect, etc., I go at once to the so-called explanation of the expression, "now customary," to which I have already alluded. During my fourteen years' experience as a teacher, my dealings (in a large way) have been confined to two or three houses, and with these I have done business on the usual termsterms which have certainly undergone no alteration during the period I have mentioned. I am at a loss then to conceive what my opponent means by saying that music can be bought now at half the price paid for it a very few years ago. Are fourteen to be considered a 66 very few years?" If I go into Messrs. Cramer's shop, I pay precisely the same sum for a piece in 1855 as I did in 1841! Where then is the change, and whence the "enviable" increase in the profits on which the "Professor" so feelingly descants? I say nothing of the reasons which he says have induced publishers to lower their prices. I have long been of opinion that a great reform was needed in this particular; but that the publishers have made any such intimation to the profession, as a body, I can scarcely believe. Some report of the "clamour," of which your correspondent speaks, would surely have reached me in some way or other. But I can assure you, Mr. Editor, I never heard a syllable of the matter till now. Still less do I know of the double title page "dodge.". I can only say I should take special care to avoid the shop of a man who I knew to be guilty of such a disgraceful piece of cheatery. One more remark before I leave this part of the "Professor's" letter. While expressing such virtuous indignation at what he calls the "dishonesty" of his brother teachers, he has never a word of reproof for the publishers who, in the coolest manner possible, deprive the unfortunate continental composers of their just rights. Nay, in some cases (like rooks) they even rob one another. Perhaps I may be told that the "law allows it; " but I have yet to learn that a bad law justifies a dishonest action. The "Professor's" next paragraph deals with the question of the over-supply of music to pupils, and he describes the "sharp practice" which obtains in the case of schools. Now all this, for aught I know, may be true; for the " Professor" is, apparently, more up to the "tricks of the trade" than I pretend to be; and this may, perhaps, have constituted one of the "many profits" to which he alludes in his first letter. I believe it is generally acknowledged that there are some sharp practitioners in most professions, and, as ours can scarcely be exempt, I can only conclude that the disreputable practice complained of must be laid on their shoulders. I am quite sure that the respect able portion of the profession would scorn to employ so mean a way of adding to their incomes. For myself, I can truly say that I should be thoroughly ashamed of anything of the kind; and, in proof, I might enter into particulars of the way in which I treat my pupils in this respect. I will only say, however, that my chief difficulty is, not how to "foist" upon them a heap of unnecessary pieces, but to make them understand that it is better to learn one piece thoroughly, than to scramble through half a dozen without any satisfactory result. In reply to the latter portion of the next paragraph, I beg to say that the "Professor" has either misconstrued, or wilfully misunderstood my meaning. What I really said was this: "I trust have shown the supply of music by the master to be a legitimate source of profit, even supposing he does introduce his own compositions." As the "Professor" expresses some small curiosity as to my own doings in that line, it may, perhaps, be satisfactory to him to know that I do Occasionally get up a little "inspiration" on my own account; but, hitherto, I have been content to let my little efforts remain in manuscript (or, as the "Professor" might say, in obscurity); for so long as publishers can supply themselves gratis from the brains of our foreign brethren, they can scarcely be expected to extend their patronage to a native. Of his concluding paragraph, I can only say that, if the anecdote of his publishing "friend" be true, the "good fellow" has little cause to be proud of his friendship. The "Professor" cannot surely be made of ordinary materials, for the man (and I write the words in no Joseph Surface spirit) who can thus hold up a friend to ridicule must be lost to all sense of shame and decency. Heaven, I say, preserve me from such a friend! The "Professor," at the commencement of his last letter, is pleased to rally me on my self respect, etc. I can assure him that such a feeling bas nothing whatever to do with "the profits"-it arises from a very different source, viz., the consciousness that I always endeavour to do my pupils justice to the utmost of my ability. "GOD SAVE THE KING." (From the Neue Berliner Musikzeitung.) SEVERAL journals have lately asserted that the English national anthem, "God save the King," which, as is well known, passes generally as one of Händel's productions, was composed by the Frenchman Lully. This assertion is, however, not so recent as our readers might imagine, for it is contained in the evidence, intended to prove its truth. The account of the matter, Mémoires of Mad. de Créqui, with a string of commentaries and incidentally given in the course of a description of a grand reception of Louis XIV. in the Chapel of St. Cyr, is as follows:— "One of the most ineffaceable impressions was that produced by the voices of all the young maidens, who, when the King appeared in his tribune, struck up, in unison, a kind of motet, or rather national anthem and song of praise, the words by Mad. de Brinon, and the music by the celebrated Lully. If you should feel any curiosity on the subject, there would be no difficulty in procuring the music for you, as a German, of the name of Händel, obtained possession of it on his journey to Paris, and dedicated it, for a certain sum, to King George of Hanover, and the English have openly adopted it as their national anthem.' This assertion that the English took their National Anthem from the French, found great favour with the latter, who regarded the matter as settled. A feuilletoniste of the Indépen dance Belge has just demonstrated the improbability of such a supposition, if only from the fact that the character of the music of "God save the King" is completely different from that of Lully's compositions. The Belgian author goes on to say that this in no way justifies any claims of Händel upon the English National Anthem. The admirers of that great composer wanted to ascribe the music to him at all hazards, but the writer of the Indépendance says that it is quite as certain George the First's composer never contemplated composing any such hymn, and that in his manuscripts, which have been preserved with the greatest reverence, there is not the slightest trace of it to be found. But all doubt as to the composer of the English National Anthem is dispelled by Mr. Richard Clark, who, in a special pamphlet, adduces irrefutable and authentic proofs. The composer was-we are not jokingHe was born in the year 1563, in the county of Somerset, and, John Bull. This person was a well-known composer in England. having evinced a great disposition for the art at an early age, was received, while still very young, as a doctor of music at the University of Oxford. He was appointed, by Queen Elizabeth, royal organist and professor at Gresham College. James I., Elizabeth's successor, appointed him his private organist. It is to this period that we must refer the composition of "God save the King," which John Bull composed in celebration of King James's wonderful escape from the famous Gunpowder Plot. It is a singular fact that John Bull subsequently left England for the purpose of seeking his fortune in foreign lands. Hitherto, it was never known what became of him. This gap, has, however, been now filled up by the feuilletoniste of the Belgian paper, John Bull went to that city in 1617, was made organist to the who proves, from the archives of the Cathedral at Antwerp, that Cathedral, and died at Antwerp in the year 1628. STRASBURG.-Herr Richard Wagner's opera, Tannhauser, attracted, on its first representation, a very large audience, who came out of motives of curiosity. It appears, however, that they were not parti But a few more last words and I have done. I had occasion in noticing my opponent's former letter to correct his very erroneous and strange notions as to the functions of a physician. His last production contains blunders of so glaring a character that I would, in all charity, advise him to eschew illustration and quotation for the future. He speaks of the silversmiths of Ephesus as being poor. Let him turn to the story and he will find Demetrius addressing his friends in words like the following:-"Sirs, ye know that by this craft we have our wealth!""cularly gratified, for, on the second representation, the house presented Further on he alludes to Peter Pindar's tale of the "Razor Seller," and in so doing falls into a mistake which may serve to convince him of the danger of meddling with edge-tools. Why, any little school boy could have told him that the razors in the funny and famous story were "made to sell!" To paraphrase a remark of his own, if the depth of a most beggarly account of empty boxes. PRAGUE.-Madame Medori has appeared with great success as Norma, Donna Anna, and Elvira. DRESDEN.-Carl Maria von Weber's Silvana was given, last week, for the first time in this city. HAYMARKET.—Mr. Planché's two-act comedy, Court Favour, has been revived to introduce Miss Blanche Fane, a youthful débutante, to the London Stage. The idea on which the piece is founded—that of a young girl who turns the advances of a profligate nobleman against himself, by inducing him to rescue her fover from penury and disgrace, and, in the process, involving him in a ridiculous political intrigue-has much dramatic capability, and affords many and varied opportunities to a fair aspirant. In personal attributes, nature has been bountiful to Miss Fane, who is young, pretty, and walks the stage with that ease and self possession, which, aided by a graceful form, and an appropriate toilet, are sure to arrest attention. In spite of an Occasional appearance of effort in her delivery (a defect of inexperience) much of the dialogue was given with point and naïveté, especially in the short interviews with her lover, where her manner was more uniformly natural and impulsive. Miss Fane had a gratifying reception, and has succeeded in stimu- ROYAL ITALIAN OPERA, COVENT GARDEN. lating curiosity to see her. CRAMER and CO. beg to announce, that by permission of the Directors, the ROYAL ITALIAN OPERA COMPANY will appear at REDUCED PRICES, for Three Nights only. On MONDAY NEXT, August 27, Verdi's new Grand Opera IL TROVATORE. WEDNESDAY, August 29, Rossini's Grand Opera of IL BARBIERE DI On Thursday evening, a new burlesque, entitled Olympus in a Muddle, was produced. It is a squib" on the neglect of Government to observe Mr. Layard's maxim of "the right man in the right place." Jupiter is represented as having quarrelled with his daughter Pallas, the Goddess of Wisdom, and, thinking he can, like other potentates nearer home, dispense with that quality altogether, proceeds to carry out his idea by appointing "the wrong men to the wrong places." Mars is made housemaid, Venus, commander-in-chief, and so on. Of course Jove, “¿ Tатhр àvdpŵv te beŵv te," is reduced to an awful dilemma, and ultimately compelled to adopt a more sensible system. The part of Jove AIR SHINES THE MOON TO-NIGHT, the original 66 servedly encored in a humorous parody entitled, "Pallas, my daughter," written of course-on the model of the celebrated "Ratcatcher's Daughter," the popularity of which is now be FRIDAY, August 31, Mozart's Grand Opera IL DON GIOVANNI. Tickets for Boxes, Stalls, etc., to be had at the Box-office of the Theatre; of Messrs. Cramer, Beale, and Co.; and of the principal Librarians and Musicse lers. ginning to be so painfully impressed upon our ears by those T THE CHEVALIER JOSEPH CATRUFO died at his residence in street. M. TINNEY'S NEW VALSE.-The Fennella Valse is the most successful dance ever composed by M. Tinney, and is encored on every occasion when played. Price 3s.; the band parts, price 5s. ; septett, 3s. 61. Boosey and Sous, 28, Holles-street. Berners-street, on Sunday last, at the advanced age of 84. He RUDOLF NORDMANN'S was the author of several operas, as well as of musical works of a higher order, which are much esteemed. He also wrote a great number of studies for the voice, and a treatise on harmony and counterpoint. BADEN.-The new Assembly Rooms, or "palace," as they may be appropriately called, are now completed, and outrival in magnificence every other establishment of the kind in any capital of Europe. Theywere inaugurated by a grand concert given on the 14th inst. BRESLAU.-The Musik-Fest was brought to a close by a grand performance of Mozart's Don Juan. The house was crowded to suffocation. POSEN.-The military music choruses united to give a grand concert on the 17th inst., for the benefit of Herr Bock's Institute for Decayed Military Musicians. BROMBERG.-The operatic company from Stettin has been playing to excellent houses. BRUNSWICK. The theatre has re-opened, after a long season, with La Dame Blanche. MANNHEIM.-Le Prophète has been produced with great magnificence. In the last scene of the last act, the whole stage sinks, with all the dramatis persona, who are buried beneath the falling ruins, while the city of Munster appears in the background, like a phoenix rising from its ashes. HAMBURGH.-Herr Sachse intends opening the theatre in a day or two for comic opera. Mdlle. Agnes Büry is engaged. A fountain has been erected in the middle of the orchestra. It will play during the acts, and is intended to cool the house. The musicians are arranged on each side of it. NEW PIANOFORTE DUETS-Si la Stanchezza (Trovatore), 3s; La mia letizia (Lombardi), 4s. Il Balen (Trovatore), 3s.; Fra poco à me (Lucia), 48.; A te o cara (Puritani), 3s; O fortune à ton caprice (Robert), 3s.; Noble seigneurs (Huguenots), 3s.; La donna è mobilc (Rigoletto), 4s. Boosey and Sons, 28, Holles-street. Published by JOHN BOOSEY, of 27, Notting Hill-square, in the parish of Kensington, at the office of BOOSEY & SONS, 28. Holles-street. Sold also by REED, 15, John-street, Great Portland-street; ALLEN, Warwick-lane; VICKERS, Holywell-street; KEITH, PROWSE, & Co., 48, Cheapside; G. SCHEURMANN, 86, Newgate-sreet; 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'slane, in the Parish of St. Martin's in the Fields, in the County of Middlesex.— Saturday, August 25, 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. SATURDAY, SEPTEMBER 1, 1855. 10 ADVERTISERS.-The circulation of the "MUSICAL It is one of the most extensively-read Art Journals in England, and forms a very advantageous medium for advertisements of a superior character. Select advertisements are inserted on the following terms: £ .. S. d. 0 2 6 Advertisements are received until Twelve o'clock on FRIDAY MORNING; and must be paid for when delivered. MIS ISS BLANCHE CAPILL-(Voice, Contralto), Professor of Music and Singing, 47, Alfred-street, River-terrace, Islington, where letters respecting pupils or engagements may be addressed. SINGING AND PIANOFORTE.-Madame ANNIE LLOYD, from Paris, instructress of the nobility, gentry, &c., in Italian, privately at German, French, and Eng. 97, sinundant, tegent-streette, attends or receives pupils WANTED a SITUATION, as Assistant in the Wholesale Department of a Music Warehouse, by a Young Man who understands the trade. First-rate reference on application to "Q.," care of Messrs. Boosey and Sons, 8, Holles-street. PRICE 4d. STAMPED 5d. MUSICAL BOX DEPOT, 54, Cornhill, London, for the sale of SWISS MUSICAL INSTRUMENTS, made by the celebrated Messrs. Nicole. Frères, of Geneva Large sizes, four airs, 14 in. long, £4; six airs, 18 in. long, 6 68.; eight airs, 20 in. long, 8; and 12 airs, 204 in. long, £12 128. Containing selections from the most eminent composers, including popular, national, and operatic airs, together with hymns, and other sacred music. Also a variety of Swiss Musical Snuff-boxes, playing two tunes, 14s. 6d. and 18s.; three tunes, 30s.; and four tunes, 40s. each. Printed lists of tunes, &c., may be had gratis and sent post free on application. MUSIC TRADE-As Shopman, a young man, age 21, is FIVE QUIRES for 6d., full-size CREAM NOTE PAPER; above line; can have six years' good character from his late employer. AddressJ. L., eare of Messrs. Boosey and Sons, 28, Holles-street. OF POETICAL ELOCUTION, as adapted to the several purposes of Speaking, Reading, and Singing. By the Rev. Hugh Hutton, M.A. Select Classes for the study of the elder English Poets, and the practice of General Elocution.-Address -No. 2, Provost-road, Haverstock-hill. PRIVATE INSTRUCTION IN THE ART super thick do., 5 quires for 18.; black-bordered do., 5 quires for Is.; extra large commercial note, 5 quires ls.; letter paper, 48. per ream; outsides scribbling do., 4s.; sermon paper, 4s. 6d. ; A. G.'s new straw writing paper, 3s.; foolscap, 6s. 6d. per ream; useful envelopes, 4d. per 100; black-bordered do. 6d. per 100; office envelopes, 5s. per 1,000, or 10,000 for 48s.; the Queen's head envelopes, 1s. per dozen; 100 super cards printed for 1s. 6d. No charge for stamping crest, initials, or address. Price list post-free. Useful sample packets of paper and envelopes by post 1s. each. On orders over 20s. carriage paid to the country. Trade supplied. Copy address-Arthur Granger, 308, High Holborn; branch establishment-10, Fitzroy-terrace, New-road, and 9, Holborn-bars, City. ORGAN-For Sale, a small Chamber Organ. Contains WRITING, BOOKKEEPING, &c.-Persons of any two stops. Price £9. Apply at 10, Sudely-street, Islington. ARGYLL ROOMS. LAURENT'S CASINO will RE-OPEN, on Saturday next, for the winter season, on which occasion the following music will be performed by his celebrated band:-Marche aux Flambeaux. Waltzes-The Lily of the Valley, D'Albert; Zephir Lufte, Gung'l; Fenella, Tinney Ethel Newcome, Laurent; La Sultane, Bosisio. Quadrilles Le Roi du Pastel, Lamotte; Les Huguenots, Laurent; Palermo, D'Albert; Bride of Lammermoor, Tinney; Il Trovatore, Tutton, Polkas-Des Hulands, Lamotte; Italie, Gavioli; The Lilian, D'Albert; Des Coucous, Bousquet; the Zouaves, Laurent. Galope The Imperial Guards, Laurent; the Hecla, Streather; Schottisch, La Guirlande Fleurs, Bousquet; La Varsoviana, Laurent. Principal cornet-àpiston, Mr. Boulcourt. Doors open at 8. Admission 1s. ARGYLL ROOMS. The following Compositions, pub- PIANOFORTES. To all who desire a First-rate Piano lished by Boosey and Sons, will be played by the celebrated Band of this establishment this week:-Fenella Valse, Tinney, price 38.; Ethel Newcome Valse, Laurent, price 4s.; Les Huguenots Quadrille, Laurent, price 38.; Bride of Lammermoor Quadrille, Tunney, price 3s.; Italie Polka, Gavioli, price 2s. 6d. ; The Zouaves' Polka, Laurent, 2s. 6d.; Imperial Guards' Galop, Laurent, price 2s. 6d.; La Varsoviana, Laurent, price 2s.-Boosey and Sons, 28, Holles-street. 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. |
