ST. GEORGE'S HALL.

THE NEW CONCERT ROOM.

(From the Liverpool Times.)

WE have, from time to time, informed our readers of the progress of the various portions of this noble building, which will form so enduring a monument of the taste, spirit, and liberality of our municipal authorities, and the genius of its architect, whose early death all must regret.

From the approaching visit of his Royal Highness the Duke of Cambridge to the concert in the Great Hall, the present seems an opportune moment for continuing our notices of the building.

Most of our readers are aware that the Great Hall has been for some time completed, and in daily use. With its amplitude of size, its wonderful vaulted ceiling, borne on ever enduring columns of porphyry, its elaborated designs of walls, and ceilings, and galleries, with its floor of coloured tessare, and its bronze doors in frame of granite, thousands are more or less familiar. And there, filling one end of this noble hall, is the monster organ, a very Behemoth. We learn that now all constructive arrangements of the instrument have received their finishing touch from the builder's hands, and that next week we shall hear it in such perfection of quality as was never by organ before attained. With the coloured decoration of the exterior we are much pleased, partly because the mode adopted is rich in effect without gaud and glitter, and partly that it is honest: Ruskin's "Lamp of Truth" seems to have lighted up the work. The usual decoration of organ pipes is paint or gold; in this instance the outer surface of the pipes is cleaned and polished, and on this real metal ground-work a delicate pattern of lattice or net work is drawn in gold; thus combining elaboration in form and richness of colour with honesty of design and execution; the real metal being seen, golddiapered.

It is the intention of the Building Committee to place tinted glass windows in the sides and ends of the hall. This we think most satisfactory, the general tone and colour at present being remarkably delicate, even so far as almost to suggest the washy and unfinished. Colour from the windows will materially assist in correcting this-we do not ask in this modern hall of the people for the gloom and mystery of the medieval minster

"Where awful arches make a noonday night,

And the dim windows shed a solemn light:

but partially, or slightly, stained glass would combine, with what is already done, in producing a completeness and magnificence unsurpassed, and worthy the age in which this great work stands-an architectural land mark.

Pass we now to the concert-room, at the north-end of the building, through an entrance hall of the purest Greek character, bearing evidence of the peculiarly refined nature of Elmes' mind. The walls are painted porphyry and granite, the beams and ceilings very pale stone, effectively enriched with pencilled ornaments, in a dark shade. While here we cannot help wishing that the plastered walls of the corridors and staircases were finished in a similar way, rather than as wainscot on plaster. Casts from the Panathenaic frieze from the Parthenon at Athens are let into the walls round a portion of the hall. The civilised New Zealander will, in times to come, see from this sculpture a Greek religious possession of four and a-half centuries before the Christian Era; but he will search in vain for a sculptured monument to illustrate aught of the English of 2,300 years later.

Two spacious staircases conduct to the concert-room, on entering which the spectator is struck with the pleasing form into which it is cast; having just passed through the simple and severe Doric entrance, the exceeding beauty of this music theatre is additionally apparent. It is found that the circular or horse-shoe form in plan is the best adapted for efficient hearing and sight. In this instance the plan is an oval, of seventy-two feet by seventy-seven feet, while a recess behind the stage, of thirty feet by twelve feet, adds much in the points of effect and con venience. Connecting this recess with the room is a spacious arch, twenty-five feet in width and fifty-seven feet high. The ample stage is capable of accommodating an orchestra of sixty performers, and a semi-chorus of seventy.

The seats for the audience are arranged to hold about eleven hundred; they are now being fixed, and are to be finished in a complete and comfortable manner.

A gallery runs round the room, omitted, of course, at the stage; the design is remarkable and pleasing, its face being a series of projections or bows, on plan, forming a wavy outline, continually varying in perspective appearance. Pilasters, or pedestals, with a scupltured figure

on Caryatida, on the front face of each, act as supports and ornaments to the gallery.

We confess we should have approved more highly of these figures had they been more architectural looking, and less like French garden nymphs. They have the fault of the modern Gallic school of sculpture, in being mere transcripts of nature; not idealised, not the embodiment of the beauty dwelling in the artist's own mind, the intonement of the higher excellences of humanity: they are of the earth, earthy. Having sketched the main features of the arrangement of this beautiful little theatre, we will now observe the more special forms; and we notice that the walls are divided, by broad pilasters of wood, into fifteen bays or compartments; the pilasters running from the floor, through the gallery, up to the cornice, which breaks round it and forms a very handsome crowning cap, supported by consoles in pairs, having festoons of bay leaves from one to the other. Between them is a bust of Apollo, and a sculptured lyre, in each alternate capital. The wall space between the pilasters is pannelled in wood, fixed free of the wall, the whole of the wall surface acting thus as a sounding-board to the speaker or singer on the stage. This is so great an aid in producing acoustic perfection, that in some theatres everything is of wood, even the ceiling; the place in fact being something like a violin. Continuing round the room, and underneath the main cornice, is a handsome freize -a manifest ornament to the room; in each wall compartment, griffins, eagle-winged, guard a circular shield, on which are inscribed, in raised letters, gilt, the names of the following celebrated musical composers; one name to each shield:

The space not taken up by the shields and supporters is filled with elaborate scroll and foliage work, modelled with much delicacy; the back ground of the frieze is gilded. We omitted to mention that the panels in the wall pilasters are filled in with papier maché scrolls.. In the recess at the back of the proscenium are eight fluted Corin. thian columns, twenty-one feet in height, highly wrought, and further decorated with gold. Between each column is an immense plate of silvered glass, repeating in the most agreeable manner the ceilings and part of the walls. As far as we are aware, this is the first instance in this country of mirrors being introduced into strictly architectural interiors, though the French have long used this mode of imparting apparent increased size to their rooms and halls. The arched ceiling over this recess is perforated for ground glass panels, which, with a window of elliptic form, in the wall underneath, gives ample light during the day. We now come to the principal ceiling. A cove of bold outline springs from the cornice which runs round the room; this is most elaborately panelled in circular and diamond-shaped compartments, fully moulded and carved, and filled in with open traceried scroll-work for ventilation. Above this cove is a highly decorated band, containing the "guillochi," and other ornaments; and from this, at thirty-seven feet from the floor, stretches the flat ceiling, with open latticed panels, radiating. In the centre of this flat ceiling is an oval opening for light, about fourteen feet by eleven and-a-half feet, surrounded by a massive band of sculptured fruit and flowers, and further ornamented with corn, oak leaves, etc., with mouldings and minor ornaments. A description of this beautiful and highly-wrought room would be incomplete were notice not taken of the coloured decorations. We think we shall be safe in saying, that, seeing no noticeable colours, but only buff and blue, are used, few, if any, interiors are more satis factory in this particular; the good taste evidenced is alike satisfactory to the observer and creditable to the directors.

The panelling of the cove and flat ceiling has two margins; the principal one is tinted buff, the secondary one blue; the mouldings and all the carved work are of cream colour, edged with gold; certain minor mouldings are gilt on their surface. The cornice is of cream colour, with some small mouldings gilt; the "dentils" and the sculptured frieze have a back ground of gold. The wall panelling, of wood, is painted in imitation of rich and delicate woods, the general tone being carefully considered, so as to harmonise with, and yet be distinct from the ceiling. The back-ground of scrolls in the panel and the wall pilastres is of gold, and the same rich metal is, though sparingly, repeated in the mouldings of the wall panelling.

The lattice work in front of the gallery is painted cream colour, and the carved portions are gilt. The red line on the cushion top, and the small gold ornament, with red ground at the bottom of gallery front,

brighten up the foreground of the picture, and, though small in quantity of colour, give value to the quieter portions.

Considering the full use which has been made of gold in these decorations, it is surprising how little it obtrudes itself on the attention, but is mere an accessary, and merges into the general richness. We may mention that the decorations of the organ, of the north entrance hall, and of the concert room, have been suggested and directed by Mr. Wordley, assistant to Mr. Weightman. Messrs. Trout beck have ably executed the work.

In conclusion, we congratulate the town on the possession, and the building committee on having carried out to completion, this model music-room, which we hope will be the scene of many a classical concert and amateur dramatic performance. We fear there is not sufficient room for an organ (country cousins are sometimes gravely told that there is an intention of laying on a main from the great organ in the hall to the concert room); but perhaps this may be overcome, and choral societies of Liverpool be enabled to hold high festival here.Liverpool Times.

PROVINCIAL.

LIVERPOOL.-(From our own Correspondent.)-Feeling that I well deserve the quiet rebuke given in the last World to your lately silent" own correspondents," and desiring conscientiously to earn my salary, I now "take heart of grace and send you this week's bits and scraps of musical news, some features of which may perhaps interest your readers in these dull times, and particularly after the incessant doses of Wagner you have been giving them during the last six months. In the first place, then, I send you a report, somewhat curtailed, of our last Philharmonic concert, which took place on Monday, the particulars of which I borrow from our local Courier, not having assisted" at the concert myself. The critic, who for some occult reason signs himself Talus, thus does his spiriting:

"On Monday evening the Liverpool Philharmonic Society gave, as in extra concert, Haydn's oratorio, The Creation, with the unexceptionable cast of Madame Clara Novello, Mr. Sims Reeves, and Mr. Weiss. The hall was not so well filled as the society were entitled to expect. The galleries were crowded, bnt the body and the boxes exhibited many an hiatus valde deflendus. The band were in great force, and the introduction was admirably played. Mdme. Clara Novello appeared fatigued, but notwithstanding was encored in "The marvellous work." "With verdure clad" merited a similar compliment, but she seemed by her action to deprecate it, and the audience gave way. After the first part she came out in full force, and sang "On mighty pens" very finely. Mr. Sims Reeves began as if he were reserving himself for the popular air, "In native worth," which he sung with equal beauty of tone and expression, and, being encored, repeated it even with great improvement. Mr. Weiss, in the music allotted to him, sang very finely, but he appeared too solicitous over his book-too fearful of losing his place, for the full development of his own powers. He was most successful in the cantabile parts, especially in the duet as Adam, with Madame Clara Novello, and was loudly and deservedly applauded. The trio "Most beautiful appear" was exquisitely sung, and the grand choruses were admirably given. The band fully justified the expectations formed from their opening display, and the whole oratorio was a highly satisfactory performance."

For my own part, I think some of Talus's remarks about the reading of the music instead of delivering it, very just, and I hope soon to see singers in concert-rooms abjure the folly of having the sheets of music in their hands, which only encumber them, and to a clever singer are de trop.

The recent Italian operatic performances not having been successful here in a pecuniary sense, and the high rate of admission -higher than the charges for similar performances in Dublin and Manchester-having been universally assigned as the cause, Mr. Copeland and Mr. Beale came to the determination to give a cheap concert with the Grisi party. As this concert excited much interest in Liverpool, I send you particulars from a local paper, the name of which, for certain personal reasons, you can understand, I beg leave to suppress. They are as follows:

"The concert given at the Royal Amphitheatre last (Wednesday) night was attended by a variety of circumstances worthy of special mention, in addition to a critical notice of the performances. In the first place, the artistes announced were Grisi and Mario, M. and Mad. Gassier, Sig. Susini, and Sig. Li Calsi, pianiste, the charges for admis

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sion being only one shilling above the usual playhouse prices. The result was, that the house was filled to overflowing, and the array of fashionables requiring places in the dress circle was so great, that a portion of the pit had to be made into stalls, every one of which was occupied, while hundreds, unable to procure seats, stood during the whole of the evening. After the numerous musical entertainments offered to the public during the present autumn, the advocates of cheap prices may well claim a decided triumph, as the result must have been most gratifying in a pecuniary point of view to Messrs. Copeland and Beale. We trust that after this the day of exorbitant charges and small audiences is gone for ever. No one can now assert that there is not in Liverpool a paying public for first-class musical performances, if the cost is not placed beyond their means. The next subject we refer to with pain. In consequence of a most lamentable domestic affliction (the loss of his mother, which he only heard about five o'clock) Sig. Mario was unable to appear. This announcement led to a most discordant scene. Sig. Susini and M. Gassier, who opened the concert, were met with a storm of hisses and groans, and Mr. Copeland, who came forward to throw oil on the troubled waters, was greeted by sounds of annoyance and vexation, to which, fortunately, he is almost the excited house that he knew nothing of Sig. Mario's misfortune till a stranger. At last he obtained a hearing, and by earnestly informing he himself entered the theatre at seven o'clock, and that he was quite ready to return their money to all who claimed it, peace was restored, and the concert commenced, the whole of the audience staying it out. Grisi and Mad. Gassier soon warmed them into good humour. 'La Diva' sang Qui la voce,' from Puritani, and L'Amor Suo,' from Beatrice di Tenda, in her best style, though evidently suffering from' cold. We have heard her sing with more brilliancy, but she never displayed that genuine Italian art of vocalism, of which she is so perfect a mistress, to greater advantage, and she executed both arias with perfect taste. She was encored in both. Mad. Gassier was, however, the star of the evening, and never did we witness a more genuine triumph; her marvellous facility in the well-known finale from Sonnambula, and in the waltz, Ab, che l'assorta' said to be composed by one Venzano, but which the Times critic insists is by Strauss, of Vienna—she was encored amidst perfect hurricanes of applause. The male vocalists acquitted themselves creditably, but they were quite eclipsed by the ladies; and Signor Li Calsi's pianoforte solos were decidedly de trop in so large a theatre."

The critic of the Liverpool Daily Post of to-day says:—

"We may add that we instituted inquiries, and found that Sig. Mario had arrived in Liverpool, with a view of appearing, and was at the Adelphi Hotel, when a telegraphic message from London reached him at five o'clock, informing him of the melancholy intelligence, which prevented his appearing, and occasioned so much dissatisfaction to the audience."

So much for what we have been doing; now for what we are to do. Next Monday Miss P. Horton intends giving her "Illustrative Gatherings" at our Theatre Royal; on Thursday a grand concert will be given in the St. George's Hall, at which the Duke and Duchess and Princess Mary of Cambridge will be presentthey being on a visit to our Mayor. The concert will be under reappearance in Liverpool is heartily welcomed by his troops of the sole direction of our talented organist, Mr. W. T. Best (whose friends), who has engaged Mad. Clara Novello, Miss Dolby, Herr Reichardt, Signor Ciabatta and Mr. Weiss. The concert will be a

miscellaneous one, and Mr. Best, who is to play some choice organ music, will be both the conductor and the solo instrumentalist. All the tickets for the concert were sold in two days, at least a week ago, and, though nearly 3,000 persons will be present, the committee could have sold tickets for 10,000 easily. MEM-Liverpool is proverbially said "to love a lord;" you may guess then what must be her admiration of a royal duke.

On the 12th and 13th of this month two shilling concerts will be given at the Philharmonic Hall, consisting of wind instruments only, in the hands of the best performers, Lazarus, Baumann, the Harpers, and the Nicholsons. The contrabasso in two septets is the only addition to the wind instruments, for amongst the instruments dependent upon wind, we must include the vocal organs of Miss Julia Bleaden, who will sing some ballads and the solo to "Tramp, tramp o'er moss and fell," and_the full choral body of the Liverpool Philharmonic Society. Two very good programmes have been put forth, including Beethoven's Grand Septuor by the instruments for which it was written.

One of our townsmen, Mr. Charles Santley, who has gained considerable popularity at various vocal concerts, intends going to Italy to study, and, before doing so, he gives a farewell concert at the Concert Hall on the 15th inst. At our Royal Ampitheatre this week Miss Vandenhoff has appeared in a round of popular parts, including Mr. J. W. Robson's Love and Loyalty, which has been a decided success, though nothing could well be worse than the hero. I enclose a description of the new Concert Hall | attached to St. George's Hall, and having thus to the best of my ability done my duty for this week at least, I lay down my goose quill. LEEDS. (From our own Correspondent.)-There was an allusion in your last number to the paucity of musical news, both in the metropolis and in the provinces; but, so far as Leeds is concerned, the assertion arose solely from the facts not being forwarded to you at the time, for concerts were never more abundant, and I wish I could add never more successful, here than at the present time. The touring parties "got up" for the provinces are not so few that a dearth of them can at all be expected, and I have now to record three which have visited this town in a very short period. On the 22nd ult., one of these troupes appeared at the Leeds Music Hall, under the auspices of the Recreation Society. It consisted of Mad. Amedei, Mad. Evelina Garcia, Sig. Gardoni, M. Zelger, Sig. Regondi, and the pianiste Miss Ellen Day; Mr. Land and Mr. Spark being the conductors. Mad. Amedei re-instated herself in the good opinion of the Leeds folk, for on her previous visits she suffered from a cold. However, she appeared to have entirely recovered, and delighted every body at the concert. Of Madame Garcia I can say but little; for she was painfully suffering from indisposition and could not sing at all. Signor Gardoni was in his best voice, and his singing of "Spirito gentil," from La Favorita, was perfect in taste and expression. Miss Ellen Day and Signor Regondi executed their various solos with much success; and the whole concert was highly successful, although the attendance was not so large as usual. Mr. Charles Salaman has been giving his "New Musical Entertainment in various Yorkshire towns with the greatest success. He has been assisted by Miss Milner (vocalist), and Mr. H. C. Cooper (violinist), and the concert, lecture concert, or entertainment, or whatever it is, consists of Mr. Salaman's researches and speculations on the History of Pianofortes, &c., condensed into one address, with illustrations by himself on the virginal, spinet, and pianoforte, interspersed with Italian songs and violin fantasias. The entertainment has been given twice in Leeds, and once in Bradford. That given at the People's Concert, on the 29th ult., was indifferently attended, notwithstanding that Leeds is Miss Milner's native town, and the performances of each of the artistes unexceptionable. Mr. Salaman's pianoforte playing was much admired, his own compositions, too, were very well received, as they merited. On Tuesday evening last, the Grisi-Mario party were engaged for the second dress concert of the Musical Union. Besides the "incomparable pair," there were also announced Madame Gassier, Signor Gassier, Signor Susini, and Signor Li Calsi (pianist). The subscribers to these concerts seem doomed to disappointment. Last season, when Grisi and Mario were engaged, the former never appeared; at the first concert this season, the band engaged miserably disappointed the audience by their disgraceful playing; and now, to crown all, on Tuesday night Signor Mario excused his appearance on account of his mother's death. The evening's performance was completely "hashed up," and consisted chiefly of hackneyed Italian arias and duets, accompanied by a "jingling pianoforte." If these musical entertainments are to constitute first-class ones, which, from the price of the tickets they should be, it gives one but a poor idea of the concerts in the metropolis. The same party appeared at Bradford on Monday last. The audience was very large, and, considering the disappointment caused by Mario's absence, was much pleased, especially with Madame Gassier's "Ah, che assorta," which created a furor.

HUDDERSFIELD (Sept. 29th.)-On Thursday evening Mr. Charles Salaman gave his Lecture and Musical Entertainment at the Gymnasium Hall. The lecturer traced, in a very lucid and satisfactory manner, the history of the pianoforte from the

rude stringed instruments of the middle ages. He gave a glance at the ancient psaltery, and the first keyed-stringed instrument, the clavichord, the mechanism of which he illustrated by diagrams. There was on the platform a fine old virginal, made by John Loosemore in 1655; and Mr. Salaman greatly amused the audience by playing upon it "The Carman's Whistle" with variations. He then proceeded to the spinett and harpsichord, and, after investigating their history and explaining their mechanism, he performed in a most superior manner Händel's variations on the "Harmonious Blacksmith." This piece, under the finished touch of Mr. Salaman, was well calculated to show the full capabilities of the noble old instrument. In the second part of the entertainment the lecturer treated of the pianoforte, showing its gradual development, the struggle it had to supplant its predecessor, and the triumph of mechanical skill displayed in bringing it into its present condition. The musical illustrations were very fine. Miss Milner's singing of the celebrated harpsichord song, "Vo far guerra," was very much applauded. She was very successful in her rendering of the poet-painter-musician Salvata Rosa's sweet aria, "Vado ben spesso," with a rich clear soprano voice of good compass and a chaste pure style. She is likely to become one of our finest performers. Of Mr. Cooper's performance we cannot speak too highly. Mr. Salaman himself is one of the most finished performers we have had the pleasure of hearing. The audience much enjoyed the evening's entertainment.-Huddersfield Examiner.

WORCESTER.—Mr. Coleman, lessee of the theatre, gave a concert at the Music Hall, on Tuesday evening. The artists engaged were Mad. Thillon, Mr. Augustus Braham, Mr. Farqu harson, Mr. Richardson, and Mr. George Case, the latter conducting. The attendance was, we regret to say, rather scanty, and by no means such as the merits of the performance deserved. The performances of Mr. Richardson on the flute, and Mr. Case on the concertina, were both admirable, and both were encored. Mad. Thillon was recalled several times. Mr. Farquharson favoured the audience with a reminiscence of Mr. John Parry, which much amused them, and occasioned a re-demand. He also sang some humorous songs. The Harmonic Society announces a concert in the Music Hall, on the evening of Thursday, the 25th of October, the proceeds to be devoted in aid of the fund for liquidating the debt in which it is at present involved. The services of Mad. Clara Novello have been secured for the occasion.

DURHAM.-A concert was given here on Tuesday evening week, by the band of the Royal Artillery, the proceeds of which are to be devoted towards building a new bridge across the River Weir. Upwards of two thousand people were present. At the termination of the concert, which was held in the New Marketbeautifully decorated for the occasion-Mr. Smyth, the bandmaster, led out his band into the open air, and played the national anthem to the crowd assembled in the Market Place.

LESUEUR.

LESUEUR made his début, as a composer on the lyric stage, the 16th February, 1793, with an opera in three acts entitled La Caverne, represented at the Théâtre Feydeau. The vigorous songs contained in this work were warmly applauded. The composer had hit upon the lucky idea of introducing the syllabic chorus, of which Rameau first gave the model in that in Castor et Pollux, "Brisons nos fers." La Caverne was played seven hundred nights.

In all the south of France, the lovers of music, and even the workmen, when walking through the streets of an evening, still sing the choruses and concerted pieces contained in this work.

La Caverne was succeeded by Paul et Virginie, an opera in three acts, first represented in 1794. Among the more remarkable pieces, connoisseurs have already noticed L'Hymne au Soleil, often successfully performed at musical reunions and concerts of the Court. It was improvised in a few hours. Apropos to Paul et Virginie, the following anecdote has been told:

"During the last rehearsals of this work, Lesueur was arrested, because, as it was said, he had composed music for our

Saviour. After having been thrown into prison, he begged the jailor to procure him the materials for writing to his father. "This fine muscadin,' observed the jailor, is frightened lest his friends should be uneasy on his account. Pooh! it is not necessary-his business will be very soon settled. To-morrow, at three o'clock,' he added, with a significant gesture, 'you will have no wish to write.'

"Luckily for Lesueur, J. Chenier happened to pass through the court-yard of the prison at this moment; Lesueur called him. Chenier was greatly astonished at meeting him there, and more particularly surprised at the cause of his arrest. He immediately got an order signed for the release of the composer, who remained in his house under the guard of a gendarme. A few days subsequently, at the first representation of Paul et Virginie, Lesueur, loudly called for by the public, appeared upon the stage in the midst of unanimous applause, but the gendarme, fearful of losing his prisoner, appeared at his side and shared in his honours. This incident greatly amused the audience, and accelerated Leseur's liberation."

Two years afterwards, Télémaque, an opera in three acts, was produced at the Théâtre Feydeau. It was most favourably received. The choruses of Satyrs and Winds assured its success. Télémaque was first put in rehearsal at the Grand-Opéra, but an order of the Directoire Exécutif stopped its production, on the pretext that the hero was a king's son. It was, however, given as a ballet a short time afterwards at the Académie de Musique.

The composer had not finished; he suddenly burst forth again, with unexpected splendour, in Ossian, ou les Bardes, an opera in five acts, represented, for the first time, at the Académie Impériale de Musique, the 10th July, 1804.

The poems of Ossian, translated into French, enjoyed a great vogue during the first years of the present century. They rapidly found their way into every drawing-room. The Emperor especially showed a marked predilection for them.

"I like Ossian," he used to say, "his ideas, his images, his creations, borrowed from the mythology of the north, possess a remarkable charm; they excite warlike and patriotic sentiments. Ossian is reproached with being monotonous, but melancholy delights in the repetition of the same thoughts. There is in Ossian a dreamy charm that I prefer to the most varied pictures and the most moving scenes."

Napoleon's well-known partiality for Ossian gave rise to a perfect spirit of fanaticism for his poems. Every art sought for inspiration from them. Painting seized on the charming types and energetic physiognomies brought out in relief in these old Scandinavian legends; and music, in her turn, worked the same fertile mine.

The production of the Bardes was, without doubt, one of the most prominent musical events that marked the first years of the nineteenth century at Paris. In spite of the most intolerable heat, the public, more numerous each succeeding day, so blocked up the house and the corridors leading to it, that, for several nights, more than two hundred persons were regularly turned away from the doors. The dilettanti, who were kept waiting for admission five or six hours, got tired, and used to amuse themselves by ringing the bells of the persons living in the theatre, until they-the bells were all broken, to the great disgust of those to whom they belonged, and whom such a continual pealing used to plunge into a state of great fury.

We know what took place at the first representation of Les Bardes-that Napoleon himself led the applause, and that he publicly complimented the composer, and pointed out for him a seat between himself and the Empress. The next day he forwarded him the patent of Chevalier of the Legion of Honour, as well as a gold snuff-box with the inscription: "L'Empereur des Français à l'Auteur des Bardes."

This opera found a great number of admirers among the literary and musical celebrities of the period. The following is the opinion of Paisiello, contained in a letter addressed by him to Lesueur in 1805:

"I cannot find any expression sufficiently strong to convey to you the pleasure and astonishment I experienced at the representation of your opera of the Bardes. Everything in it is

ORIGINAL CORRESPONDENCE.

GOD SAVE THE KING.

To the Editor of the Musical World.

SIR,-I am sure it would be considered a great card gained by all "Britons," whether musical or not, if the composition of our glorious national anthem could only be saddled upon some one individual or other, and the more so, if the composer only could be proved to be an "Ancient Briton."

Our national hymn is tossed about like a ship in a storm; one says Händel is its composer; another the Frenchman Lully (who is, I suppose, no other than the celebrated Jean Baptiste Lulli, born in Florence, 1633, and who went to France in 1646, and distinguished himself at the court of Louis XIV.); a third stoutly contends that neither of the above have any right to claim its composition, but that no less a personage than John Bull shall carry away the palm. But the other day to be glancing through a short sketch of Haydn's there is still another great name striving for the prize. Happening life, by De Stendhal (published in Paris by Michel Lévy frère), I stumbled upon a list of his compositions headed "Catalogue des œuvres que Joseph Haydn, âge de soixante treize ans, se rappella avoir composées depuis l'âge de dix-huit ans," and amongst the number was "God save the King." As I never heard it attributed to Haydn, I was rather surprised, and in order to sift the matter a little I seized an old friend of mine, "Dictionnaire des Dates," a good authority I believe, and there I read in a short sketch of Haydn's life the following:-"Ce fut aussi à Londres qu'il composa, 1795, l'air national Anglais, 'God save the King."" !!

I looked no further than this. I was frightened at getting deeper and deeper into the mud.

history of this ancient family of de Créqui I find the following:-" M. de Courchamps publia sous le titre de souvenirs de Madame de Créqui, des memoires qui offrent de l'intérêt, mais qui n'ont aucune authen

Madame de Créqui's assertion is scarcely to be relied on, for in a short

ticité."

I hope we may soon hear something more about "God save the
A. T. B.

King" through your valuable paper. Enclosing my card,
London, 3rd Oct., 1855.

I am, sir, etc., etc.,

ROSSINI AND THE COLOGNE CHORUS.-Rossini was so pleased with the execution of the Society of Men Singers from Cologne, now in Paris, that he requested to be present at one of the morning rehearsals. He remained an hour, and begged the singers to repeat their Spanish canzonet. His visit was the subject of a spontaneous and enthusiastic ovation on the part of the singers, all the members of the society being anxious to show in this manner their admiration for the great composer.