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either increased nourishment, or an excitement that will What is the meaning, in the sense laid down, of “the change the character of what he then experiences. By strengthening of the motives ?” whatever he feels himself in this way ruled or supported, to that It is impossible that this—as we have already seen-can does he give a great power, precisely in the proportion that he mean a heaping-up of the motives, because the latter, without is in a great mood. The especial connection which he himself the possibility of expression as action, must-even when expliexperiences with Nature, he involuntarily feels expressed in a cable-without any justification, prove unintelligible to the feelgreat connection of her phenomena—then present with himself ings and even to the understanding. When the action is comand with his mood of mind; his mood of mind nourished or pressed, many motives can only appear small, capricious, and transformed by means of them, he recognises again in Nature, unworthy, and cannot possibly be employed in any other way whom he thus, in her mightiest expressions, refers to himself, as than in the caricature to a great action. The strengthening of he feels himself decided by her. In this great reciprocal influ- & motive cannot, therefore, consist in the mere addition to ence experienced by him, the phenomena of Nature press for- it of less important ones, but in the complete merging of ward, before his feelings, into a definite shape, to which he attri a great many into the one motive in question. The interest butes an individual sentiment, corresponding to the impression peculiar to different persons, at different times, and under it produced upon him, and to his own frame of mind, and lastly, different circumstances, and, according to these differences, also, organs-intelligible to him-for uttering this sentiment. assuming an especial form, should-directly these persons, times, He then speaks with Nature, who answers him.
and circumstances are fundamentally of a typical similarity, Does he not, in a conversation of this kind, understand Nature and of themselves render clear to contemplative consciousness better than he who observes her through a microscope ? What an essential form of Nature-become, at & definite time, and does the latter understand of her except what he does not re under definite circumstances, the interest of one person. Everyquire to understand ? Everyone, however, learns from her what thing outwardly different should, in the interest of this person, is necessary in the highest state of excitement of his being, in be raised into something definite, in which, however, the interest which he understands her according to an endlessly great scope, must be displayed in its greatest and most exhaustive compass. and, in fact, in a manner in which the most comprehensive under- This, however, is nothing more nor less than to take from the standing is not able to picture her. It is here that man loves interest every particular and accidental element, and to exhibit Nature; he ennobles and raises her to the rank of an interested it, in its full truth, as a necessary, purely human expression sympathiser in the highest frame of mind of men, whose phy- of feeling. But of such an expression of feeling that sical existence she unconsciously presupposed out of herself.* man is incapable, who has not yet a clear idea as to
If, now, we would accurately define the work produced by the his necessary interest; whose sensation has not yet found poet, to the utmost imaginable limit of his capability, we must the object that forces it to a definite, necessary excall it: the newly-invented mythos, justified by the clearest human pression, but which, from a number of powerless, accidental, consciousness; corresponding to the ever-present views of life; and unsympathetic outward phenomena, is shivered into small fragoffered to us, in the Drama, in the most intelligible representation. ments even in itself. If, however, this powerful phenomenon
We have still to ask ourselves by what means of expression from the outward world approaches him—this phenomenon this mythos is to be represented most intelligibly in the drama, which either affects him so hostilely and strangely, that he and, for this purpose, must go back to that point of the whole gathers up all his individuality to repel it, or attracts him with work of art, which, in conformity with its essential attributes, such irresistibility that he yearns with all his individuality to it presupposes, and which is the necessary justification of the be merged in it his interest, also, with the fullest definiteness, action by its motives, for which the poetising understanding becomes so comprehensive, that it absorbs and completely conturns to the involuntary feelings, on whose unconstrained sumes in itself all his other divided and powerless interests. sympathy, the intelligence of it is to be founded. We have seen The point of this consumption is the act which the poet has to that the condensation, necessary for the practical understanding, prepare, in order to strengthen a motive in such a way that a of the manifold points of action, immeasurably wide-spreading stronger motive of action may be able to spring from it, and this in actual reality, was conditional upon the yearning of the poet to preparation is the last work of his increased activity. Up to represent a great connected range of the phenomena of human this point, his organ—that of the poetizing understanding-the life, from which alone the necessity of these phenomena can be language of words is sufficient for, up to this point, he had to comprehended. He could only effect this condensation, in order to exhibit interests, in whose interpretation and fashioning a satisfy his principal aim, by including in the motives of the necessary feeling as yet took no part, which were variously inpoints of the action intended for actual representation, all those fluenced by given circumstances from without, while nothing motives on which the rejected points of action were based, and was effected towards within in such a way that the inward by justifying this inclusion, to the feelings, by causing it to ap- feeling was forced to a necessary activity, not depending upon pear as a strengthening of the principal motives, which, out of choice, and again determining to without. There, the underthemselves, presupposed again a strengthening of the points of standing still ordered matters—the understanding, which still action corresponding to them. We have seen, lastly, that this combined, separated into details, or joined this or that detail to strengthening of the point of action could only be attained by each other, in this or that way; but here it had not to represent heightening it above the usual human standard, by the conden- | immediately, but to depict, to make comparisons, and render sation of the miracle—which perfectly corresponded to human | things intelligible by means of others of a similar kind-and, for Nature, but enhanced its capability, by a force of excitement, this purpose, his organ, the language of words, was not alone unattainable in ordinary life of the miracle, which shall not sufficient, but was the only one by which he could make himself lie beyond the limits of life, but shall simply stand forth understood. But where that which has been prepared by him so prominently, as to make itself recognizable above the ordi shall really spring into being; and where he wants no longer to nary course of things and we have now only to attain a clear separate and compare, but to allow to manifest itself the prinidea as to what shall constitute the strengthening of the motives, ciple which negatives all choice, and, on the other hand, that which have to determine the strengthening of the points of which exhibits itself as self-defined and unconditional, as well as action.
the decisive motive, raised to decisive strength, in the expression
of a necessary and imperious feeling-he can no longer effect # What are thousands of the finest Arabian stallions to their pur.
anything with the language of words, which merely describes chasers, who test them at English horse-markets according to their and implies, unless he heightens it, as he has heightened the proportions and their useful qualities, compared to what his steedmotive, and this he can do only by casting it in the language of tune. Xanthus was to Achilles, when he warned the latter of his death ?
(To be continued.) Verily, I would not change this prophesying horse of the god-like runner, for Alexander's accomplished Bucephalus, who, as is wellknown, paid the portrait of a horse that Apelles had painted, the Aix-LA-CHAPELLE. - Herr Ernst gave two concerts, wnica delicate flattery of neighing at it!
were excellently attended, last month.
the singers diminishing the harmony by little and little to a ALLEGRI'S MISERERE.
perfect point, followed by a profound silence.
The Miserere is the 51st Psalm, whence Allegri has selected GREGORIO ALLEGRI, who appears to have been a dignitary of part of the lst, and the whole of the 2nd, 4th, 6th, 8th, 10th, the church, being styled the Reverend, was a native of Rome.
12th, 15th, and 18th verses, and concludes with part of the 19th. The precise date of his birth is unknown, but must have taken So sacred was this composition at one time held by the Church, place either the latter end of the sixteenth century, or the that the penalty of a copy was almost tantamount to excommubeginning of the seventeenth, as he was admitted into the Pope's nication; the thunders of the Vatican being hurled agalnst the Chapel in 1629, as a counter-tenor. He was of the family of wretch who dared to disregard its dictates. Padre Martini Correggio, the celebrated painter—who also bore the name of
states, that there were never more than three copies made by Allegri-and received his musical education from the famous
authority, one for the Emperor Leopold, another for the King of Nanini, who was contemporary with Palestrina. His vocal
Portugal, and the third for himself.' Respecting the former the abilities were not of a first-rate order, but he was accounted an following anecdote is narrated ! admirable master of harmony. Joined to this, he bore an excel
“The Emperor Leopold the First, not only a lover and patron lent character for benevolence. It is said, his door was daily of music but a good composer himself, ordered his ambassador crowded by the poor and needy, who never went away unre at Rome to entreat the Pope to permit him to have a copy of lieved; besides which he made a practice of visiting the prisons, the celebrated Miserere of Allegri, for the use of the Imperial in order to bestow his alms on distressed and deserving objects.
Chapel at Vienna, which being granted, a copy was made by the Among the compositions of Allegri, which were chiefly con
Signor Maestro of the Pope's Chapel and sent to the Emperor, fined to the Church, is the celebrated Miserere, performed in the who had then in his service some of the best singers of the age; Sistine Chapel at Rome, on the Wednesday and Friday in
but, notwithstanding the abilities of the performers, the compoPassion Week, being, on account of its excellence, reserved for
sition was so far from answering the expectations of the Emperor the most solemn occasions. The Miserere is composed in five
and his Court, in the execution, that he concluded the Pope's parts, viz. Ist and 2nd sopranos, alto, tenor, and bass, and is
Maestro di Capella, in order to keep it a mystery, had put a written in the key of G minor. In construction it is of great
| trick upon him and sent him another composition. simplicity, and its appearance does not convey any great intel
“ Upon which, in great wrath, he sent an express to his Holiligence of the wonderful impression made by it, when performed
ness with a complaint against the Maestro di Capella, which occain the Pope's Chapel.
sioned his immediate disgrace and dimissal from the service of the The author of a “ Tour in Germany," thus relates the manner
Papal Chapel; and in so great a degree was the Pope offended at in which it is performed at Rome, during the solemnities of
the supposed imposition of his composer, that, for a long time, he Lent:
would neither see him, nor hear his defence; however, at length Allegri's famed Miserère, as sung at the Sistine Chapel at
the poor man got one of the Cardinals to plead his cause, and to Rome, during Easter, justifies the belief that, for purposes of
acquaint his Holiness that the style of singing in his Chapel, pardevotion, the unaided human voice is the most impressive of all
ticularly in performing the Miserère, was such as could not be instruments. If such a choir as that of His Holiness could
expressed by notes, nor taught or transmitted to any other place always be commanded, the organ itself might be dispensed with.
but by example; for which reason the piece in question, though This, however, is no fair sample of the powers of vocal sacred
faithfully transcribed, must fail in its effect when performed music, and those who are most alive to the concord of sweet
elsewhere. sounds" forget that, in the mixture of feeling produced by a “His Holiness did not understand music, and could hardly scene so imposing as the Sistine Chapel presents on such an oc
comprehend how the same notes should sound so differently in casion, it is difficult to attribute to the music only its own share
different places. However, he ordered his Maestro di Capella in the overwhelming effect. The Christian world is in mourn
to write down his defence, in order to send it to Vienna, which ing; the throne of the pontiff stript of all its honours and un
was done, and the Emperor, seeing no other way of gratifying covered of its royal canopy, is degraded to the simple elbow chair
his wishes with respect to this composition, begged of the Pope, of an aged priest. The pontiff himself, and the congregated
that some of the musicians in the service of his Holiness might dignitaries of the church, divested of all earthly pomp, kneel
be sent to Vienna to instruct those in the service of his chapel before the cross in the unostentatious garb of their religious
how to perform the Miserere of Allegri." orders. As evening sinks, and the tapers are extinguished one
It is well known that the powers of Mozart's memory were after another at different stages of the service, the fading light
truly astonishing, and the manner in which he obtained a copy falls dimmer and dimmer on the reverend figures. The pro
of the Miserere is highly characteristic and amusing. phets and saints of Michael Angelo look down from the ceiling
When in his fourteenth year, Mozart travelled with his father on the pious worshippers beneath, while the living figures of
to Rome, and was invited by the Pope to the Quirinal Palace. his Last Judgment, in every variety of infernal suffering and
This happened just before Easter. While in conference with his celestial enjoyment, gradually vanish in the gathering shade, as
the gathering shade, as Holiness, he solicited a copy of the Miserere, but was refused in if the scene of horror had closed for ever on the one, and the
consequence of the prohibition. He then asked permission to other had quitted the darkness of earth for a higher world. Is attend the only rehearsal, which was granted to him. On it wonderful that, in such circumstances, such music as that famed
quitting the chapel, Mozart spoke not a word, but hastened home Miserere, sung by such a choir, should shake the soul even of a and wrote down the notes. At the public performance, he Calvinist?
brought his manuscript carefully concealed in his hat, and the harmony of the celebrated composition is pure, having filled up some omissions and corrected some errors in and-for the time it was written-bearing a considerable share
the inner parts, had the satisfaction to know that he possessed a of ingenuity and a peculiar kind of beauty, yet it owes its repu
complete copy of the treasure thus jealously guarded. When tation more to the theatrical manner of the performance than to
afterwards this manuscript was compared with the one sent by the composition itself. The same music is many times repeated | Pope Pius the Sixth to the Emperor of Germany, there was not to different words, and the singers have by tradition certain cus
found the difference of a single note. toms and expressions which produce wonderful effects, such as
Although Allegri set many parts of the Church service with swelling or diminishing the sounds at some particular words,
divine simplicity and purity of harmony, yet there does not appear and singing entire verses quicker than others. Some of the
to be a single composition of his, save the Miserère, which has greatest effects produced by this piece may perhaps be attributed
wiihstood the ravages of time.* As while he lived he was much to the time, place, and solemnity of the ceremonies. The Pope I beloved, so when he died he was deeply lamented. His death and Conclave are all prostrated to the ground, the candles of the chapel and the torches of the balustrades are extinguished one * Kircher has inserted in his Musurgia, published in 1652, the year in by one, and the last verse of the psalm is terminated by two which Allegri died, a quartetto of his composition for two violins, tenor choirs, the chapel-master beating time slower and slower, and and bass.
occurred on the 18th of February, 1652, and he was buried in the manager of the Stadttheater. In the course of the evening, Chiesa Nuova, before the Chapel of St. Phillipo Neri, the place Capellmeister Hiller presented him with a valuable goblet, in of interment for the singers of the Pontifical Chapel, upon the the name of the professors and members of the Rheinische wall of which is engraved the following epitaph:
OSTEND.-Herr Julius Schulhoff is at present stopping here.
M. VIVIER AT BADEN.
After the fireworks and the illumination, the concert com-
menced. HIC UNA CONDI
On this occasion, M. Vivier arrived with his horn; not a false VOLUERE.
Vivier, not a second-hand Vivier, but the true Vivier, the only ANNO 1640.
Vivier, in a word, Vivier. The public saluted him with thunders of applause before seeing or hearing him; but that was nothing
to what they did afterwards. PROVINCIAL.
There are some incredulous persons who assert that M. Vivier MANCHESTER.-The concert at the Pomona Gardens, on Satur
slightly resembles Schamyl; they are not sure that he really
exists. day, the 15th inst., had for its especial feature the performancs of the Royal Artillery Band, and the singing of Miss Cicely
“He is a myth," say some ; "He is a symbol,” remark others. Nott, the fair and talented protegée of M. Jullien. Miss Cicely
“In ancient times, Theseus was the personification of strength,
and Pirithouis of friendship. In the same manner, Vivier is the Nott'introduced Jullien's characteristic and very charming song, “The Echo of Lucerne,” and Edward Loder's popular ballad,
personification of the horn." “There's a path by the river," with great effect. She also sang
Now that Paganini is dead, how many people affirm that he “ Over the sea," which fouad few admirers.--The concert at
never lived ! Belle Vue Gardens, the same evening, had, as a counter-attrac
It is very certain that this theory has its inviting side, which tion, the Band of the Coldstream Guards. There were also the
is capable of shaking the most deeply-rooted conviction. Accringtou Brass Band, the Mopley Saxe-Horn Band, and the
"Look for your M. Vivier," persons have said to me," and
find him if you can." Belle Vue Brass Band. The vocal department was sustained by the Spanish Minstrels, including the bronze-cheeked and dark
All of a sudden we heard that he was at Constantinople. eyed Senora Marrietta, who so enchanted the audience by
“A horn-player among the Turks! Is it likely? It is true emphasising “God save your Queen," as to elicit a rapturous
that Schamyl is reported to be in Circassia, but who ever saw encore. The Senora possesses a powerful voice, well adapted to
him ?” out-of-doors singing. She was encored in two songs. During
Another day, there was a rumour that he had just given a the intervals of the concert, a dwarf-boy, called Admiral Tom
concert at Moscow, Thumb, was exhibited. He is stated to be eleven years of age.
Now, every one knows that Moscow was burnt down. His height is thirty-three inches, and weight only twenty-one
Later, he was said to be at Smyrna or Liverpool. Why not and-a-half pounds; wonderfully little indeed for a boy of his at Quebec or Ispahan? age, when it is considered that, at the Baby-show this week at
After all, however, Vivier Vivier, body and bones, the real Witternsea, the child who won the first prize, four months old, I
ja | Vivier, alive and kicking, performed on the horn, last Saturday, weighed only twenty-four pounds. The dwarf was not received |
| at half-past nine o'clock in the evening, at Baden. Fifty people with unbounded applause. There was an enormous crowd,
saw him. nearly twenty thousand people, present. Both concerts had
He played very little, but he did play. The only piece he Malakhoff towers, and both towers were taken to the evident
played, in the midst of the most profound silence, is entitled satisfaction of the audience. Sebastopol has proved an immense
· La Chasse ;" he composed it for himself, and I doubt if any card for all out-of-door plans of amusement.
living man but himself could execute it.
Formerly, Lucullus dined with Lucullus; at present, Vivier works for Vivier.
Any person who has not heard him can form no idea of his FOREIGN.
playing. Tradition stops at it. His horn is not a horn; BERLIN.–At the Royal Operahouse, Madame Nimbs has ap
it is an instrument without a name, which sighs like peared as the Countess in Le Nozze di Figaro, with only
a flute or thunders like the trumpets of Jericho. In the moderate success. Guillaume Tell was to have been performed,
hands of Vivier, the horn is doubled - trebled. It is on the following evening, for the purpose of introducing to the
heard by his side, it is heard in the distance, it is heard here, public a new member of the company, Herr Radwaner, in the it is heard there-it approaches, retreats, it bursts out, it calls character of Tell, but La Fille du Régiment was substituted, on upon itself, and it replies—it is the sound and the echo in itself account of a sudden indisposition of Herr Theodor Formes. We alone. have, also, had Tancredi, with Mdlle. Johanna Wagner in the Old chroniclers speak of fairy-horses, which were always principal part.—Herr A. Conradi, formerly Capellmeister at running and could never die. M. Vivier makes me believe in Kroll's Theatre, has been appointed to the same post at the fairy-horns: his is the soul of the Black Huntsman speaking. Königstädtisches Theater, just opened by Herr Wallner. Assemblée Nationale. During the visit of the King to Count Flemming's chateau at Buckow, Herr von Bulow played before his Majesty, and was Nos Poma NATAMUS.—The Times' critic states, that at the dance afterwards commanded to join the royal party at dinner,
with which the cider aristocracy of Hereford finished their COLOGNE.—Two new compositions, by a young composer, Herr musical festival, great, and in fact, impertinent precautions were F. W. Vogt, for full orchestra, namely: a grand Triumphal taken to exclude a reporter from the floor. This showed prudence March, and an overture to Shakspeare's Othello, were favourably if not manners; for the conversation of the class in question can received at the last meeting of the Philharmonische Gesellschaft. scarcely be up to reporting mark, if it be true that one of The management of the Theatre Royal, Berlin, has decided that the ladies patronesses thought it was “very low" to give Mario the overture shall be played at all future representations of “a song about cider.” Her hearers were puzzled, but at last, an Othello at that establishment.-A grand dinner was given in the unsually acute short-haired Hereford discovered that the acHotel Disch, on the 30th ult., to Herr Roderick Benedix, who, complished lady had been puzzling over the programme, on after a residence of thirteen years in this city, is about to leave which was a little carelessly printed), thus" La cidar em for Frankfort-on-the-Maine, where he has been appointed i lamano."-Punch.
TIE Concertina possesses considerable compass, having a greater range / greater facility than other instruments. On this account it is particularly than the Flute, and (excepting the very highest notes, only used in very valuable to the amateur. The Concertina may be used as a substitute for difficult and elaborate compositions), the same as the Violin. Its tones are the Violin or Flute; and from its being the only portable instrument pure, sweet, and brilliant. It has great power of expression and execu- having a sustained or continued sound, which conventionalism allows to tion; and is capable of producing a gradual increase and decrease of tone, Ladies, its value is materially increased. From these facts, and the facility not to be surpassed, and rarely equalled, on any other instrument. The of its acquirement, amateurs are enabled to take a part in concerted capacity to play any music written for the Violin, Flute, etc. (if within music of the highest order, which they would otherwise never have an its compass), with the ability to play music that cannot be attempted on opportunity of doing. Tenor and Bass Concertinas are likewise manu. any other instrument, enabling the performer to produce harmonies of factured, upon which any music written for the Viola or Violoncello may two, three, four, or more parts, or, in fact, any combination of notes. be performed. They are frequently combined, and in Quartets, Septets, These are the characteristic features of this elegant invention. From its or even in larger numbers, they produce a beautiful effect; and, with intonation being always correct (unless when not in repair, which is seldom music expressly arranged for them, a brilliant result is produced, which the case, if judiciously used), the tone easy to produce, and the keys lying | cannot be surpassed by any equal number of other instruments. entirely under the command of the fingers, it can be learned with much
CASE'S CONCERTINAS are manufactured of the best materials, with the aid of patent machinery and superior workmen : they produce a better tone than any other Concertinas, and are not liable to be constantly out of tune and repair, which is a great objection to all other instruments. List of prices :No. 1. Common Mahogany, in Mahogany Case ... ....
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* JUST PUBLISHED, A NEW EDITION OF
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London, October, 1855. where letters respecting pupils or engagements may be addressed.
Agents wanted. M R. PAQUE, violoncellist, begs to announce that he has
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I visionally Registered (under the New Act for limiting the liability of Share11 returned from the Continent. Applications for lessons or concert engage- holders Capital, £10,000, in 1000 shares of £10 each; deposit, £5 per share, on ments, to be addressed to his residence, 28, Upper Charlotte-street, Fitzroy-allotment. It is considered that the sum produced by such deposit will be sufficient square.
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Stockbrokers; and at the principal Music Warehouses and Libraries. WANTED IN A DISSENTERS' CHAPEL by a" CHE COMES IN VISIONS FAIR AND BRIGHT." good Soprano Voice, an engagement, either as leader or to assist in a
Poetry by L. M. Thornton, composed by Charles Oberthur. “This is Choir. Accustomed to leading. Frofessional references will be given. -Address
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God,” dedicated by special permission to Her Most Gracious Majesty the Queen; ceeded to the above old established business, and undertake all matters connected
composed for the Choral Festival in Aid of the Choir Benevolent Fund. Price 6s, with Concerts, cto, at the Music Hall, pleaging themselves to use every exertion
or six copios for 30s, A Morning and Evening Service, by Thorné, price 10s. 6d., to promote the interest of those who may favour them with their arrangements.
or six copies 428. A Sanctus and Kyrie Eleison, by Verrinder, price Is. 6d., or six copies for 6s. ; also by the same composer, an Authem, “Ont of the deep," price
2s., or six copies for 98., printed on the best paper from large music plats, twentyORGAN PERFORMANCE.-Messrs. BEVINGTON
one lines on a page. London: Published by T. Surman, 9, Exeter-hall, Strand. AND SONS having completed the NEW ORGAN for the Chapel of the FOUNDLING HOSPITAL, have the honor to announce Four Performances by IJPWARDS OF 500 VOLS. OF MUSIC, elegantly MR. WILLING, the Organist of the Institution, who has kindly undertaken to - test the capabilities of the Instrument. The Performauces to take place at the
bound in Calf, from the Library of the late W. W. HOPE, Esq., including Manufactory, 48, Greek-street, Soho-square, on TUESDAY and WEDNESDAY. the Works of Kreutzer, Dalayrac, Glück, Winter, Haydn, Mozart, Händel, Nicolo, the 9th and 10th of October, at the hours of Three and Eight. Application for Boildieu, Spontini, Auber, Grétry, etc., etc. M.S. and printed Operas of the Tickets to be made to Messrs. Berington, between the hours of Two and Five.
17th and 18th centuries from the Library of Louis XIV., by Lully, Desmarais,
Destouches, Campra, Bertin, Bourgeois, etc., etc. For a Catalogue, apply to DRIVATE INSTRUCTION IN THE ART OF
Joseph Toller, Booksoller, Kettering. 1 POETICAL ELOCUTION, as adapted to the several purposes of Speaking, Reading, and Singing, by the Rev. Hugh Hutton, M.A. Select Classes for the
IQUIDO.-A splendid Picture by this master, in a fine study of the elder English Poets, and the practice of General Elocution.-Address
he Grecian Danghter," size 3 ft. by 2 ft. 10 in., in an elegant git No. 2, Provost-road, Haverstock-bill.
frame, from Mr. Hope's collection, 40