to no other. It is a pity that Herr Wagner cannot add acting and singing to his accomplishments (dancing and fiddling it would be preposterous to expect). He might then play all the parts, and a perfect Lohengrin be| anticipated.

However, finis coronat opus. We shall see what we shall see. In an elaborate panegyric of Hector Berlioz, Herr Wagner concludes with this desolating sentence :-" What a pity he is not a musician!" Were we to write the panegyric of Richard Wagner, seven in one, we might conclude with greater justice, in another style :-"What a pity he is a musician !"

THE directors of that pocket and patent Society styled the Réunion des Arts have again addressed their subscribers, soliciting their continued support and gratitude in the year 1855. The résumé of the season of 1854 enumerates the names of the painters, composers, and performers, who have contributed to the "amusement and instruction of the members." The directors are confident of their attractions and "feel sure that this résumé will be the best comment on the aims of the committee of management, and the best reply to those who imagine that two seasons are sufficient to create an Utopia." From this statement we may infer that the directors have been anxious to create "an Utopia," but that some eager friends have complained of the length of the process. We are sorry to hear, nevertheless, that the two seasons have been unfavourable to the growth of the scheme, and we hope that the weather in the approaching season may be more propitious.

The directors go on to say,

"That if any shortcomings have been felt in one department, they have been more than balanced in another; as for instance, though painting and sculpture may not have been so largely represented as the committee had hoped and wished them to be, the musical world has had no cause for complaint."

Then follows a list of artists and executants, "whose valuable aid is briefly but gratefully acknowledged by the committee of management." Judging from the list of artists, we should have said that painting and sculpture have had the best of it, and that music might have some cause to complain, notwithstanding the off-hand and satisfactory conclusion to which the prospectus arrives on the point. The Réunion des Arts, however, is instituted "not as a school of art, least of all as a school of any one art in preference to others, but as a centre, to which all may alike converge." In the forthcoming season it is hoped the directors may be enabled" more fully to realize the idea of the refined and refining social meeting, indicated by the title of the Society.' There is no fear of the Réunion des Arts becoming a school of any kind of music, at all events. The "refined and refining" character of the soirées may be variously interpreted. The composer who played his own inspirations, and acted an officious part at every soirée, would, no doubt, think he was "refining" his friends. But the musician who frequented the Réunion des Arts in the hope of hearing something novel and intellectual, might possibly be bored rather than edified ("refined") by the exertions of his fellow-professor. However, though we do not view the Réunion des Arts in the light of an important institution, we think it might be made an agreeable and useful one; and we shall be pleased to see some attempt at carrying out effectively the objects for which the Society was established, and which constitute the claims on the strength whereof the services and subscriptions of the profession are demanded.

M. JULLIEN'S CONCERTS. It was hardly to be supposed that the "Mozart Night" would not prove quite as attractive as those devoted to Beethoven and Mendelssohn, at M. Jullien's Concerts. There is no name in music which addresses itself more powerfully and universally than that of Mozart in appeals to the heart as well as to the intellect. From infancy his melodies are made familiar to us; they are hummed at our cradles, taught us at schools, sung. at our theatres, and made the groundwork of our musical appreciation. As soon as we learn anything of music, we are taught to believe-as part of our creed-that Don Giovanni is the most perfect and exquisite of operas; that Mozart's symphonies are unsurpassed for ingenuity and beauty combined; that his sonatas are among the most charming ever written for the piano; that of musicians. It is only when, more late, we become deeper he himself was the most profound as well as the most inspired versed in the beauties and powers of other composers, that we feel at all inclined to allow any other musician a place by his side. With the general musical public, there is no doubt that the name of Mozart has a charm beyond that of any other. Time and rivalry seem only to have confirmed more incontestably his genius, and increased truth, it would have been impolitic in M. Jullien to have the number of his admirers. Knowing this, and feeling its omitted the name of Mozart from his special "classical" performances. The enormous crowd that assembled on Tuesday the "Mozart night"-at Covent Garden, was a proof of it.

A better selection-even from a composer whose works are so uniformly good-could hardly have been made. If there were any fault-to be hypercritical-it was, perhaps, the introduction tainment. That, however, was counterbalanced by Madame of two entire symphonies in the first part of an evening's enterPleyel and Herr Ernst executing together a sonata for pianoforte and violin, in place of the two concertos, ordinarily introduced on the Beethoven and Mendelssohn nights-which compensated for what would otherwise have been a surfeit of good things. The symphonies were the one in E flat, and the Jupiter. The rest of the programme comprised the overture to Die Zauberflöte; the sonata in E flat for pianoforte and violin; and the well-known contralto song, "L'Addio," which was assigned to Miss Dolby. Here was a store of beauties, enough to gratify the veriest musical gourmand. The auditors, though "packed" rather than crowded, were unanimously delighted, and showed as much discrimination as attention. The overture was received with a genuine burst of applause; and the minuetto in the E flat symphony was encored with enthusiasm. Indeed both symphonies were received throughout with perfect satisfaction, and appeared to have been thoroughly enjoyed. The slow movement quisite movement acknowledged to be one of the finest ever in the Jupiter symphony narrowly escaped an encore. written by any composer-was played inimitably. The perfection of the wind instruments was beyond praise. We have not heard their performances surpassed by any orchestra, and seldom indeed equalled. The difficult and elaborate fugued finale to the Jupiter was remarkable for the decision, point, and delicacy with which it was given; and the whole performance was a genuine success. M. Jullien is entitled to much credit for refraining in the symphonies from "enriching" the score of Mozart with trombones, which are not in the original. He merely added a third bassoon in the Jupiter, to strengthen the wood against the powerful weight of the stringed instruments, to which Mozart himself, had he been present, would have offered no objection.

This ex

those kind which at once enchain the sympathies of the uninitiThe sonata for pianoforte and violin is full of beauties, and of ated. The melodies are fresh and sparkling, and the whole work wears an air of simplicity and grace which might be termed primitive. The masterly development, however, shows the hand of the great musician, and will always possess an interest for the than that of the two eminent artists we never heard. The sonata connoisseur. A more admirable and indeed faultless performance was received with thunders of applause, and the rondo finale, performed with incomparable taste, being encored unanimously, Mad. Pleyel and Herr Ernst were compelled to return to the

last season, at Drury Lane. She has, we understand, resided in England several years, and speaks English fluently, and with no perceptible foreign accent. Madame Rudersdorff's début at Exeter Hall was a decided success. Her declamatory powerswhich are of no mean order-were displayed to much advantage in the music of Judas Maccabaus; while her general appreciation of Händel was beyond reproach. She gave the grand air "Pious orgies," in a highly impressive and earnest manner, which had a powerful effect on the audience; and the equally fine air," From mighty kings," though so different in character, was rendered with admirable energy. Madame Rudersdorff has great abilities and natural powers, and will be a welcome acquisition to sacred performances at Exeter-Hall. In no oratorio, perhaps, does Mr. Sims Reeves appear to so much advantage as in Judas Maccabæus. The music suits his voice to perfection, and the vigour, fire, and energy, demanded for the three great songs of Judas, bring his finest capabilities into play. In the martial bravura, Sound an alarm," he not only displays immense power, but his execution of the passages is really marvellous for their distinctness, certainty, and unvarying intonation. Miss Messent sang the second soprano music with excellent effect, and Mrs. Lockey was all that could be wished for in the contralto, which she gave with great purity of voice. To Mr. Weiss was entrusted the bass part; he acquitted himself, as he always does, admirably. The Hall was crowded in every part, and the performance afforded so much gratification as to necessitate its repetition very shortly.

DRAMATIC.

STRAND THEATRE.-Mr. W. Allcroft, the enterprising lessee of this theatre, has had his full share of success during the holidays. The pantomime continues to amuse the younger portion of the audience as much as ever. Several new burlettas and farces have been added to the répertoire with much success; and a new actor, Mr. Leighton Walters, who made his first appearance in the part of Colonel Davenport, in the burletta of Home from the War, is likely to prove a valuable addition to the company. Mr. Walters is young and prepossessing in appearance, and his acting is remarkable for gentlemanly deportment: his delivery of the text was accurate and pointed, his manner natural and easy, and his début was highly favourable. When more familiar with the exigencies of the stage, Mr. Leighton Walters will, we have little doubt, take an honourable position in his profession. The audience received him with kindness, and warmly appreciated his efforts. OLYMPIC.-Mr. Thackerary is writing a comic drama for this theatre, which, it is expected, will be brought out before Easter. Mr. Robson will sustain the principal part.

ST. JAMES'S. This popular and fashionable place of amusement will close for the winter season on Saturday.

COURT OF QUEEN'S BENCH.-JAN. 25.

CROFT v. LUMLEY.

THE Plaintiff had brought an action of ejectment against Mr. Lumley, the lessee of Her Majesty's Theatre, to recover possession, upon the ground of an alleged forfeiture for certain breaches of covenant. Subsequently a rule was granted, upon the application of Lord Ward, the lessee of some boxes in the theatre, for a rule calling upon the Plaintiff to show cause why he (Lord Ward) should not be let in to defend the action. By the terms of his lease, Lord Ward had a right of free ingress and egress to and from his boxes on all nights on which the theatre might be open, except at balls and masquerades. There were several other parties who, it was stated, were in the same position as Lord Ward, and who also wished to be let in to defend the action.

Mr. Willes showed cause against the rule, contending that Lord Ward had no title to possession, but had only an easement.

Sir F. Kelly and Mr. Wells, who appeared in support of the rule, were not called upon.

Lord Campbell said, Lord Ward had established a primâ facie case, but the question of title might be discussed hereafter.

It was agreed that the several claimants should come, if possible, to an arrangement, by which one might defend the action for all, so as to save the expense of separate defences.

Rule absolute.

MISS CATHERINE HAYES IN SYDNEY.

(From the Sydney Morning Herald, Oct. 4, 1854). immense concourse of persons assembled last night at the It is hardly possible to do justice to the effect produced with the Victoria Theatre. An excitement wholly unparalleled in the theatrical annals of this colony has prevailed relative to the success of Miss Catherine Hayes, who has been delighting us while, on the other hand, there was almost a fear that she might during the past week. The highest expectations were formed, not equal her immense reputation on the stage. This fear has been proved to be groundless; Catherine Hayes has surpassed all expectation, because it had been impossible to be prepared for something so startlingly new-so unlike all we had ever seen pared for, the superiority of talent she possesses. To have or heard in the colony, that people expected, but were unpreattained such perfect control over her voice-such faultlessCatherine ness, purity, and delicacy of execution - Miss Hayes must have studied most arduously; but to such profit have been her studies, that there is nothing in her one of them. Everything she does, singing to remind The appears spontaneous, and yet there is never a fault. same thing nearly is remarkable in her acting; every movement seems the impulse of the moment; yet not for a second does sonates-not for a moment are her gestures other than expresshe lose sight of the idiosyncracy of the character she impersive and graceful. Her voice is astonishing. To the purest, sweetest tone imaginable, it unites a vibrating and penetrating quality, which makes its softest whispers audible, which when exerted to its fullest extent, is truly glorious.

We do not fear being considered extravagant in our praise, at least by those who have witnessed Miss Hayes's performances, for the delight of hearing something altogether so new and startling, must have taken the most phlegmatic by storm.

Excellent as were the performances which preceded Miss Hayes' appearance, they were listened to with a patience the most exemplary, and we consider it as no small proof of the increasing good taste of a Sydney audience when we record that Madame Sarah Flower obtained an encore in "The spirit of love." Still, the denizens of the theatre were on the qui vive for the appearance of the great songstress; and when Miss Hayes appeared, her reception was most overpowering. Hundreds of bouquets and offerings of the most omnigenous descriptin were showered upon the stage, and several minutes elapsed before she was permitted to commence the beautiful English ballad "Home, sweet home," which she gave in a style limpid, pure and deliciously sweet, and which she finished with a shake so delicately, so softly executed, that each one held his breath to listen, and the tumult of applause at the conclusion baffles description. The crowded mass waving hats and handkerchiefs, stamping, knocking, shouting, and endeavouring in every possible manner to express their delight, called upon the vocalist to repeat her song, when she complied by singing "Comin' thro' the rye," with her usual naïve expression. She was again recalled, with an enthusiasm we have never seen surpassed, and yet which was altogether deserved.

But the great triumph of the evening was reserved for the Figlia del Reggimento. The comic powers which Miss Catherine Hayes infuses into the role of the vivandière, must strike everybody who witnesses the impersonation. It was a charming tout ensemble, that excited the plaudits and cheers of the audience to a pitch which has never been witnessed in this theatre-a combination of unaffected grace and modesty, added to which there is a certain frankness, gaiety, and naïveté which is perfectly irresistible,

One of the greatest beauties in Miss Hayes's vocalisation is, that in her cadences she preserves the character of the style of music she is singing, for which the ancient singers were so famous; and this was remarkably conspicuous in the variations on "Ah, vous dirai je Maman," introduced into the singing lesson of the second act. These impromptus of her refined tastes are invariably executed and finished off in a style that might delight the most fastidious; so perfectly does she identify herself with the part, that it is difficult to persuade oneself she can ever

perform another than the one we see her in. There is an innate grace and dignity of manner which never leaves her, and which, united to the winning archness, sweetness, and naturalness of her acting, forms the most fascinating combination. The look of enjoyment in her face communicates, and completely conveys, itself to her listeners, and shows how strongly she enters into her part. The look of complete enjoyment, as she struts about the stage, singing her regimental air-her naïve coquetry with the old serjeant, the struggle between inclination and the sense of duty, when studying the old-fashioned romance with the Marchesa; all these, and many others, must be watched for, for never with Miss Catherine Hayes does the wandering eye and listless countenance, in moments of repose, recall to mind the actress, and destroy the illusion of the scene. Who will ever forget the natural, but comic expression with which she repeats the words "Per Bacco," when the proud Marchesa claims her as her niece, and then the exquisite feeling she infuses into the words "Lasciar i padri miei" and "Addio," when she is about to take leave of her supposed father, and the companions of her youth, at the end of the The house was crowded in every part to excess, and we understand that several hundred persons were sent away from the doors, unable to obtain tickets. We are most reluctantly obliged to revert to the abominable habit of allowing venders of ginger-beer to perambulate the house during the performances. One of Miss Hayes's most exquisite cadences was interrupted by three explosions of this nature; we trust that Mr. Torning will see to this, though we confess, as long as ladies devour oranges and pastry in the boxes, we doubt whether any emendation can be effected in the bienséances of the gallery. Miss Hayes, on leaving the theatre, was received in the most enthusiastic manner by an immense multitude congregated outside, who were only deterred by her own entreaties, and the exertions of the police, from taking the horses from her carriage and dragging it to her hotel.

first act.

HERR JOACHIM AND MAD. CLARA SCHUMANN. (From an occasional Correspondent.)

Berlin.

THE cause of classical music gained a brilliant victory here the other day. I allude to that achieved by Herr Joseph Joachim and Mad. Clara Schumann, assisted by Herr von den Osten, in the rooms of the Singacademie. Clara Schumann, wife of the unfortunate Robert Schumann, is one of the most distinguished pianists of the present day, and is not more remarkable for her perfect technical skill than for her profound intellect, two qualities which have induced her to choose the works of the great masters as the almost exclusive field of her exertions. Joseph Joachim, as you well know, enjoys, and with perfect justice, the reputation of being the first violinist in Europe, although or, perhaps, because he never condescends to employ the little methods of showing off with which modern virtuosi are so fond of coquetting. His tone is powerful through every shade of sound, and his manual dexterity perfect, while his conception, expression, and heartfelt fervour are unapproachable! We had a real pianoforte concert without Liszt, Thalberg, or Chopin, and a performance on the violin without Paganini, De Beriot, or Mayseder. The two artists had selected no less famous masters than John Sebastian Bach and Beethoven. But the spirit of these great composers lived again and spoke with all its irresistible force at this performance of their imperishable productions. Beethoven's sonata in a A major (Op. 47) has certainly very seldom been more perfectly played. The applause was unanimous and enthusiastic.

L'ETOILE DU NORD.-There is a rumour-how well founded we cannot say that the agents of the composer of the above successful opera have offered Mr. E. T. Smith, lessee of DruryLane Theatre, the sum of 20,000 francs (£800), to desist from his intention of bringing it out in London; and that Mr. Smith has accepted. If the first be true, we can easily believe the last.

SCRAPS FROM AN AMATEUR'S COMMON-PLACE BOOK.

SUCCESSIVE VARIATIONS IN MUSICAL NOTES.-Nothing in music has varied more than the form of its notes, as relative signs of time. When the large and the long were in general use, the note of the smallest value, or shortest duration, was a breve, so called, because it was the shortest note then employed. To the breve, however, soon succeeded the semi-breve; half the length of the breve; which was as quickly followed by the minim, half as long in time as the semibreve; to which again were successively added, the crotchet, the quaver, the semiquaver, the demisemiquaver, and the double demisemiquaver, each diminishing in the same proportion; so that the last of these notes is only a one hundred and twentieth part of the breve, which, by practice, has been converted from the shortest to the longest note!

ANCIENT VOCAL SCALES.-The art of extending the natural scales of the different species of voice was formerly so ill understood, that eleven notes were all that were comprehended in the register of each, without deviating into unpleasant and strained intonation. Even in this age of practical refinement, it is not every singer, whether soprano, tenor, or bass, that can exceed this compass, and preserve throughout an unchanged quality of tone. The compass to which vocalists were formerly confined, was expressed by the eleven notes which occupy the five lines of the stave, the four spaces between them, and the two stations immediately above and beneath the stave. Hence these eleven situations were deemed sufficient for vocal notation.

HINTS TO COMPOSERS.-It was the constant advice of Durante and Galuppi to their scholars in composition, to recollect, that a production may be effective in the highest degree in a chamber, and yet wholly unqualified for a church or the theatrenay, even offensive, so inseparably connected are subject, style, and plan in music. And both these masters forbid their pupils the use of any instrument, as an aid in composition; so sensible were they, that he whose ignorance of science requires intelligence from his fingers, should not attempt to compose!

GARDEL.-Of the two musicians of this name, the younger brother, Pierre-Gabriel, is the most celebrated. His father, C. Gardel, ballet-master to the King of Poland, gave him a musical education, and, in 1774, he appeared in the opera of L'Amour et des Arts. In 1787, he became associated with his brother, as ballet-master to the King of France, and the Académie-Royale de Musique; of which latter, at the death of his brother, he filled the station of principal ballet-master. The time devoted to the study of chorégraphie, on the art of measuring and marking the steps of la danse, was not suffered to interfere with the progress of his general education. Literature and music had their share of his attention. The violin, his favourite instrument, he practised under Imbault, a pupil of the celebrated Gavinie. In 1781, he performed solos at the Concert Spirituel, and the following year was heard with great applause at the King's Theatre, London. In 1802, he was nominated Maitre des ballets to the Emperor Napoleon.

MUSICAL POLICY.-A certain great master, before he composed a single air of a new opera, always read each act of it separately, and then the whole piece. He afterwards placed himself in the middle of the pit, arranged and combined his ideas according to the representation which he beheld with his mind's eye; and, this done, he, before a note was written, considered the opera as composed. But this preparation cost him an infinity of labour, and often seriously affected his health. Who was this sagacious as ingenious musician? Glück!

ORIGIN OF THE BACHS AS MUSICIANS.-The ancestors of the

family of the Bachs, the musical talents of whom have, long since, become remarkable in the history of the harmonic art, was Veit Bach, a baker at Presburg, in Hungary, about the middle of the sixteenth century. Religious troubles breaking out in that town, he was compelled to seek another place of abode; and, accordingly, he retired, with what little of his property he could save, to Wechmar, a village near Saxe Gotha, in the province of Thuringia. Here he commenced the two-fold occupation of miller and baker, in which he prospered; but, affected by his former losses, to retrieve his uneasiness, he resorted to the