agreeable points of individual quality. In this swell, however, two very curious mistakes occur. The first is the placing of the lowest octave of the double diapason (bourdon) outside the swellbox. This is avowedly done under the impression that a swellbox sufficiently large to accommodate these pipes in its interior becomes ineffective for the crescendo: but the best modern practice proves the error of this notion, while, as a result in this instance, we have the total impossibility of matching the qualities of the pipes thus differently situated. The second mistake is in the formation of the oboe. The upper half of this stop has free reeds, while the remainder is furnished with those of the percussive variety, and thus, while either kind might have been used with great effect, the presence of both furnishes a contrast destructive to the equality of the general scale. The success of the free-reed portion of this stop, meanwhile, suggests the advisability of applying the principle to some greater extent in our organs. Reed-work of this description is common enough on the continent, but has never yet had a worthy trial in this country.

We have already congratulated the Messrs. Bevington on their improved tone in this organ, and have now only to counsel them to persevere. They have still much to learn in this particular, but, by way of balance, they have ambition to excel. Mr. Willing, the talented organist of the Foundling, has exhibited the capabilities of the organ on several occasions during last week, and displayed a great deal of cleverness to the great delight of the numerous audiences assembled to hear his performances.

KIDDERMINSTER MUSICAL FESTIVAL.

to music.

(From our own Reporter.)

OCTOBER 18. KIDDERMINSTER was determined to show that it had a soul above carpets. It would not rest content with being famous in felt. It was not satisfied with competing with Turkey, or 'vieing with Brussels. It must needs take example by the meetings of the Three Choirs of Worcester, Gloucester and Hereford, and that at Norwich, and turn from the coarse to the fine arts-from manufacture to singing and playing-from wool Kidderminster has built a new music-hall, and with a laudable object-the establishment of cheap concerts for all classes. The festival was given in aid of the erection of the organ. It was well organized and right well carried out, and, as a first effort, reflects the highest credit on the promoters. The list of patrons was long and important, and included the names of the Right Honourable Lord Ward, President; and, VicePresidents, the Mayor of Kiderminster, the Earl Beauchamp, the Lord Bishop of Worcester, the Lord Kinsale, the Lord Foley, the Lord Lyttleton, the Lord Sandys, The Right Honourable Sir J. S. Pakington, Bart., M.P., the Right Honourable Robert Lowe, M.P., the Viscount Elmley, M.P., the Honourable and Reverend G. Herbert, the Honourable and Reverend H. Douglas, the Honourable Dudley Ward, Sir T. E. Winnington, Bart., M.P., Lieut.-Colonel Clive, M.P., J. H. H. Foley, Esq., M.P., F. W. Knight, Esq., M.P., Colonel Rushout, M.P., the Very Reverend the Dean of Worcester, together with a numerous array of reverends and misters. The stewards were G. A. Bird, Esq., W. Boycott, Esq., W. Brinton, Esq., H. Brinton, jun., Esq., H. Chellingworth, Esq., W. Grosvenor, Esq., T. Hallen, Esq., C. Harvey, Esq., G. Hooman, Esq., G. W. Jotham, Esq., J. Kiteley, Esq., G. B. Lea, Esq., W. R. Morton, Esq., H. Talbot, Esq., W. Talbot, Esq.

The principal singers comprised Madame Clara Novello, Madame Weiss, Miss Dolby, and Madame Rudersdorff, Herr Reichardt, and Mr. Weiss. M. Sainton was solo violinist, and Mr. Stimpson presided at the organ.

The new music-hall is a sound, solid building, looking decidedly more useful than beautiful. It will answer its purpose well, and ́is admirably adapted for cheap concerts.

The performances on the first day (Tuesday) consisted of Hadyn's Creation and Spohr's Last Judgment. The band included some of the "crack" instrumental performers from the

Royal Italian Opera; M. Sainton (leader), Messrs. D'Egville, Waud, R. Blagrove, Wait, Reynolds, Baumann, Lazarus, Brooke, Nicholson, Tilley, A. Nicholson, C. Harper, T. Harper, Ward, Bell, King, &c. The chorus was tolerable, so that, in the main, both oratorios went well. The solo vocalists in the Creation were Mad. Clara Novello, Mad. Rudersdorff, Mr. Weiss and Herr Reichardt. The greatest effects were produced by Mad. Clara Novello in "With verdure clad," and Herr Reichardt in "In native worth." The lady gave her air in her most delightful manner and with the utmost sweetness and purity of voice; and Herr Reichardt, for refinement of style and expressiveness, could hardly be surpassed. I never, indeed, heard Haydn's song, "In native worth," with more thorough satisfaction. Mr. Weiss's fine voice told advantageously in "Now heaven in fullest glory shone." It is not necessary to enter into details. The band was good nearly at all points, and the chorus acquitted themselves more than creditably.

The Last Judgment, to my thinking, is one of Sphor's most genial inspirations. It is replete with beauties of a high order, and seldom fails to leave a lasting impression. The principals were Madame Weiss, Miss Dolby, Mr. Weiss and Herr Reichardt. The chorus was hardly so steady as in the Creation, in which work, of course, they were more "up." In many instances, however, they challenged criticism, and the general verdict must lean to the side of praise. There was but one bis, strange to say, in the two oratorios. This was awarded to Madame Weiss and Herr Reichardt in the duet, "Forsake me not," in the Last Judgment,-perfectly sung by both artists.

a

The concert in the evening presents few features for remarks. It gave almost the identical programmes submitted at Hereford and Birmingham. Madame Clara Novello, as before, sang Weber's Scena from Freischutz, (encored) and Mozarts' "Deh, vieni non tardar;" Miss Dolby, as before, gave her "Old Memories" and "Over the Sea"-which songs, having no merit whatsoever in themselves, one would imagine the talented artist was bound over by the Fates to sing for ever; and Madame and Mr. Weiss sang, as before, the duet "Crudel perche finora." The music to Macbeth, however, was novelty. It was sung extremely well by the chorus, and the soli parts had full justice done to them by Madame and Mr. Weiss. Herr Reichardt again distinguished himself by his perfect vocalisation and irreproachable taste in "Il mio tesoro," and a pretty song, by Gumbert, called, "The Signal"-two very different styles of composition, but both requiring an accomplished artist to do them full justice. A young debutante, Miss Mahlah Homer (what a name for a singer! it is fatal!) made a good impression. She possesses a nice voice and has talents. I think she will do with time and pains. M. Sainton executed his new fantasia on airs from Rigoletto famously, and was loudly cheered at the end. The band played the overtures to Oberon and Guillaume Tell with great spirit and entrain, and Mr. Stimpson created a decided sensation by his fine solo performance on the organ.

Of the Messiah, performed on Wednesday morning, I cannot speak favourably. Most of the principal instrumentalists in the band left Kidderminster early for more pressing engagements elsewhere, and the orchestra was almost entirely shorn of its glory. The singers and chorus had consequently up-hill work. The performance was most unequal and most unsatisfactory. There were several encores, which I shall not trouble you with detailing. The attendance was large much larger than on the preceding day, and the fund must have realised something considerable from the receipts of the two morning and evening performances. I may add that Mr. Done conducted the oratorios and Mr. J. Jones the evening concert.

It is now twenty-three years since the last musical festival was held at Kidderminster. It was given in the old Church, and was remarkable for the first appearance of Clara Novello as a public singer, then, as may readily be imagined, a mere girl. The accounts are not yet made up, so I cannot furnish you this week with the receipts, expenditure, and, as I hope to show, surplus. Everybody says there will be a round sum remaining for the organ-fund-a result devoutly to be wished.

PARIS.

more

(From our own Correspondent.) THE Cenerentola has been given three times at the Italiens, with much greater success than attended the production of Mose. Mad. Borghi-Mamo made her rentrée as the Cenerentola, and, since Alboni, no such representative of the cinder-wench-princess has been heard in Paris. Mad. Borghi is, beyond question, the finest contralto of the day-now that Alboni confines herself entirely to soprano parts. She made a great and most legitimate impression at Paris last season, with her voice so fresh, so round, so clear, her method so pure, her phrasing so large. In vocalisation, flexibility, and perfect command, there was something to desire, and that Madame Borghi has now supplied, after a course of severe study during the summer months, which she has passed in retirement at Auteuil. She has reaped the full fruits of her labours in her present success, which is as unmistakeable as it is well deserved. A new basso, Signor Zucchini, made his first bow to a Parisian public in the character of Don Magnifico. Signor Zucchini is a young buffo-comico, who has sung with considerable success at La Scala and others of the best Italian theatres. His face is beaming with fun and good humour; his voice is a bass of remarkably fine quality, sonorous, true and sweet, withal; his gesture is natural and easy; his acting vigorous, petulant, and gay. He has read Hamlet's advice to the players, and says no than is set down for him, knowing well that a buffo can be too funny, if he be so out of place. Immediately before his first appearance he was seized with stage fright at the thought of facing a Parisian public, and was in such a state of nervous excitement as to render it doubtful whether he would be able to appear. However, his first notes in the famous air " Miei rampoli femminini," propossessed the public in his favour, the applause he received completely renerved him, and he made a triumphant début. Everardi, in the part of Dandini, confirmed the favorable impression he made as Pharaon. He sang well, acted with spirit, and proved himself worthy of treading in the footsteps of Tamburini. Carrion was a good representative of the Prince, and the band was much more efficient and less noisy than it was in Mose. The Cenerentola has been played three nights to very good houses. Mdlle. Boccabadati will make her debut shortly in the Sonnambula, with a new tenor, Mongini, who is well spoken of. Deucalion et Pyrrha, music by M. Monfort, poetry by MM. Carré and Barbier, authors of Les Noces de Jeannette, is the name of a new operetta produced at the Opéra-Comique. The plot is an absurd mélange of mythology and harlequinade, so pointless, dull, obscure and tame, that the somewhat pretty music of M. Monfort and the excellent execution of Mocker and Mad. Lemercier were listened to with yawning and listlessness by a weary audience.

THE GRISI AND MARIO CONCERT.
(From the Shrewsbury Gazette, Oct. 10.)

A LOOK of blank disappointment was visible among the auditory at the Music-Hall on Thursday evening, when Mr. bereavement-the death of his maternal parent-Signor Mario Coleman announced that, in consequence of a severe domestic would be unable to fulfil his engagement. The distinguished tenor was, we believe, in Shrewsbury; but, in addition to the sense of conventional propriety which precluded the possibility of his appearing before the public under such circumstances, Signor Mario was, we understand, so afflicted by the sudden and distressing intelligence he had received, that the complete prostration of his physical powers had rendered impossible what good taste had already forbidden.

But, if the expression of disappointment was unmistakeable, it may be said that never did an entertainment, in which there was the failure of a principal, so thoroughly retrieve itself as did the concert of Thursday night.

Mdme. Grisi we hold to be beyond the scope of criticism. We could say nothing new of her, and our readers will imagine all that is requisite beyond. When we say that her execution was distinguished by all her former characteristics of style and excellence we have said enough. With the further record that the great prima donna was awarded a very gracious reception, which was no less graciously acknowledged, we dismiss a portion of the "programme," which was, of course, most satisfactory, and which, equally of course, we are saved the necessity of particularising, by the accurate judgment which the antecedents of Mdme. Grisi will enable every reader to form upon the subject. In Mad. Gassier, however, we find fresh "fields and pastures the success with which the concert redeemed the disappointment new ;" and to the triumph achieved by that lady, is mainly owing of Signor Mario's non-appearance. It is not too much to say that in spite of all they had heard of the capabilities of Mad. Gassier, the audience were taken completely by surprise. So far from fame having exaggerated her excellencies, each person who heard her for the first time, might say, with the royal guest of King Solomon, "Behold, the half was not told me. nothing can the singing of Mad. Gassier be so fittingly compared, as to the trilling carol of the singing bird. There is a roundness and richness in the tones, a full, free, rippling "warble" in the execution, to which we have rarely heard an approach by the human voice, and resembling more the mechanism of the woodland songsters. Revelling in the elaborate mazes of the "waltz" scena by Venzano, or indulging in the most capricious and extraordinary "intervals" in the execution of the lovely "Ah! non giunge" from La Sonnambula, Mad. Gassier's performances were a perfect marvel, and a tempest of plaudits conveyed the gratification of the audience. It should be added that, as a characteristic, perhaps an inevitable necessity,—of her florid and elaborate executancy, the lady completely postpones (?) the libretto to the exigencies of the music; and in the case of her vocalisation the listener neither hears nor cares what words accompany the apparently spontaneous and uncontrollable outburst of song.

Το

Madame Albert, a most charming actress, the orignal Marie of La Grâce de Dieu-whereon was founded Linda di Chamouni and a host of other pieces-is about to return to the stage. It is now many years since she was compelled by severe illness to quit the scenes, but her health is now restored, and the public are waiting impatiently to welcome her.

for Signor Mario, was Siguor Susini. He sang the popular duet, with M. Gassier, "Suoni la tromba," from I Puritani. A word in commendation of the fine baritone, and classic style, of M. Gassier, and of the capital pianoforte playing of Signor Li Calsi, must conclude our notice of a concert which, as we said at the outset, redeemed itself under threatening failure by the excellence of its subordinate features. We regret to have to add that the attendance, although considerable, could scarcely have been sufficiently numerous to be renumerative to the spirited caterers, Messrs. Hay and Coleman.

FRANKFORT-ON-THE-MAINE.-As the extensive alterations in the theatre cannot possibly be completed before November or December, the management intend giving a series of concerts, so as not to lose entirely the talent of the artists already engaged.

ORIGINAL CORRESPONDENCE.

NATIONAL OPERA COMPANY. To the Editor of the Musical World. SIR-I wish-sincerely wish, the New National Company every success; but I fear the projectors have not gone the right way to ensure it, if, indeed, to deserve it. The pledges made are, in general, honest and to the purpose, and the commercial part is neither ill-considered, nor ill-arranged. But the committee spoils all. The name of Mr. George Alexander Macfarren, musically considered, is, perhaps, the worthiest in England, and would reflect honour on any congregation of artists; but Mr. Macfarren writes operas, and must be interested; ergo, I say, knock off Mr. Macfarren from the committee of management without more ado, despite his great merits and high pretensions. Mr. Alfred Mellon is to be conductor; to that I have nothing to object. But he is on the committee and has written operas. Knock him off; he has no business there. Let him attend to his bâton alone. Mr. Palgrave Simpson has written, as I understand, a score of librettos. He will naturally desire to have his "books" set to music; and his influence as a committee-man cannot fail to be made use of. Knock off Mr. Palgrave Simpson. We want no party spirit. Who is Mr. Andrew B. Vyse? As I cannot say anything for or against this gentleman, I shall offer no opinion. He may be very wise, or very wealthy. I suppose one of the two constitutes the reason for his appointment. Mr. Henry Blagrove may be allowed to remain, as he is a sound musician, and, not writing operas himself, nor, as far as I know, having any intimate friend or relative who does, cannot be biassed in his decisions.

It comes to this, sir. There is really but one individual on the committee-I throw over Mr. Andrew B. Vysc, knowing nothing of him, though having my doubts, mind you-to whom any sophisticated com. poser could hopefully entrust his manuscript. I am not afraid nor ashamed to acknowledge that I myself have an opera by me, and would not hesitate to submit it to the committee, if I thought I should have the ghost of the shadow of a chance. Would not Mr. Macfarren and Mr. Alfred Mellon, aye, and Mr. Palgrave Simpson, naturally look upon me as an intruder, and turn a weak eye and a dull ear to my poor offering? Sir, I am fond of my work, but have not the heart to do it. I should have no objection, if the committee were willing to refer my opera to Mr. Henry Blagrove, and abide by his solitary decision.

In the opinion expressed in your leader on the National Opera Com pany, in the week before the last, "that it was impossible to give six performances weekly with any degree of completeness or finish," I perfectly concur. I perceive, too, that the Athenæum has taken the same view. The committee, I apprehend, are influenced by Mr. Arnold, the proprietor of the theatre, who, in letting it, wishes to be paid so much per night; and, as six nights are better than three, he prefers the six. Query-Is Mr. Arnold, proprietor of the Lyceum, the same gentleman—Mr. Augustus Walter Arnold-who figures in the prospectus as one of the trustees ? If so, what a capital trustee he makes to himself. Mr. Augustus Walter Arnold should have been placed on the committee.

Notwithstanding the above grave objections, I repeat emphatically, that I wish-sincerely wish, every success to the National Opera. I enclose my card, and have the honour to remain, Sir, yours, &c., Lower Chelsea, Oct. 12. NOCHIMOFF.

POOR MARIO!

To the Editor of the Musical World. SIR,-I was not informed of Signor Mario's inability to sing at my theatre on account of the death of his mother until seven o'clock on the evening of the concert. The critics of the local press know that my word may be relied on, and that I am incapable of committing a public wrong.

The intimation conveyed in the Musical World of the possibility of my having done so is an injury and an insult. Mr. Willert Beale, of the firm of Messrs. Cramer, Beale, and Co., 201, Regent-street, will satisfy you of the truth of my statement, and when you have obtained that assurance (which, being a stranger, I tender to you), I shall expect an apology for the unjust imputation with which you have assailed the character of Your obedient servant,

W. R. COPELAND.

Royal Amphitheatre, Liverpool, Oct. 16, 1855. [Having nothing for which to tender an apology to Mr. W. R. Cope. land, manager of the Theatre Royal, Liverpool, we tender none. We made no accusation. We said that it was too bad for the general press-who were speculating, not affirming-to visit all the blame on

Signor Mario, as, à priori, the manager might as well have been in fault as the singer. We distinctly stated we did not accuse Mr. Copeland, knowing nothing of the matter. We now as distinctly assert that, if the public press was made aware of Signor Mario's refusal to sing in Edinburgh, and the cause thereof, Mr. Copeland should not have been ignorant of the circumstances.-ED. M. W.]

THE NATIONAL COMPANY OF NATIVE IMITATORS. To the Editor of the Musical World.

SIR,-Like the patriotism of the sons of Poland, whose hearts beat with enthusiasm at every new attempt to restore freedom to their illfated country-so the hopes of our native composers rose exultingly at the mention of the new scheme for rescuing them from the thraldom of prejudice under which they have so long and silently suffered. With coloured cheek the future Mozart turned to his cupboard to dust off the cobwebs which had accumulated on his long-cherished chefd'œuvre. Prospects of fame-of fortune-of triumphant first nights, and similar dreams, flash across his mind. He turns to his favourite passages-and exclaims with Dean Swift, "Good God! what a genius I had when I wrote this!" His wife hands him some note paper and he writes for a dozen shares in the National Operatic Company by the next post. A few days afterwards he reads the Musical World, and finds that the foundation of all his hopes has vanished. The National Company has disappeared from the advertisement columns, and the directors have retired into that private life which they had for a moment deserted. He cannot account for this failure. "Such a splendid scheme." "So much encouragement too." "What can be the meaning of it ?" "Everybody subscribed shares." No wonder our friend is surprised. At first sight it appears strange that the new project should fail. The proprietors of the Musical World no doubt subscribed† liberally with a view to the advertisements, Mr. Macfarren subscribed liberally on behalf of hls country. Mr. Vyse and the other "promoters" made up a subscription to pay for circulars and advertisements, and moreover toiled night and day to obtain supporters. Well did they deserve the five per cent. profit to be paid them evermore as interest upon their disbursements. Mr. Alfred Mellon met the project with his usual spirit, and promised an excellent band and an excellent conductor. Mr. Palgrave Simpson assisted the committee with his advice on the grammar and spelling of the circular. Henry Blagrove gave a secret undertaking that the scheme should not fail for want of a leader. The proprietor of the Lyceum cheerfully agreed to let his theatre on the usual terms-pay. able in advance. In fact, everybody acted disinterestedly, and in a patriotic spirit. Nevertheless the plan has failed. The public did not take up the shares, and a sufficient number could not be obtained to meet the requirements of the Act of Parliament.

It is not difficult to account for the failure. Although I am ready to admit that Messrs. Macfarren, Mellon, and Blagrove, would have acted with as much impartiality and fairness as would be natural and possible, still it was quite apparent that the world at large thought differently. It considered that the committee and projectors were not the men to dispose of its money satisfactorily. The public does not refine on these matters. It observed that the projectors were doubly interested in the concern, and that there was no guarantee that the popularity and prosperity of the Company would not be endangered to gratify the egotism and vanity of these men. I myself believe, as I have already said, that they would have acted honourably, but at the same time I think their names as directors were injurious to the scheme. They ought to have retired at once. Why, actually on the self-elected committee we had a composer, a poet, a conductor, and a leader. The four most important posts were thus anticipated. But I believe the new scheme was altogether based upon wrong views. There were too many professionals in it.

A commercial company should be composed of shareholders having only one object-to obtain a good dividend. If nearly all the proprietors have joined for the purpose of becoming officers and contractors it follows plainly enough that when disappointment sets in (as it must do) there will be nothing but selling out; the shares will go down and at the same time the management will be weak through the unfair influence at work. The fatal climax will soon ensue; and I for one congratulate the subscribers to the National Operatic Company in the early and inexpensive termination to their hopes. SEMIBREVE.

*Our correspondent is mistaken. The National Company is in existence, and likely to do well.

+ Our correspondent is wrong again. We have not one share in the concern.-ED.

THE NEWCASTLE BAND.
To the Editor of the Musical World.

SIR,-I think it necessary to make a few observations in reference to a notice, dated Newcastle, and published in your last number.

The writer of the said article, in giving an account of the perform ance of Maritana, pleasantly describes the orchestra as consisting of two violins and a (rock ?) harmonicon (sic.) The latter instrument, if I recollect rightly, was first introduced to public notice by some serenaders, Ethiopian or others, who have not yet made their appearance in "canny Newcastle," and, it is to be hoped, never will. The band, on the present occasion, however, consisted of three first violins, two second ditto, viola, violoncello, contrabasso, two horns, drums and an orgue-harmonium. The harmonium it has been found necessary to use as a substitute for flute and clarionet, as proficient performers on these instruments are, alas! too scarce (if to be found at all) on the banks of the Tyne.

It is to be hoped that your Newcastle correspondent will, on the occasion of his next visit to the theatre, make more use of his eyes and ears, and less of his propensity for jokes à tout prix.

I trust, sir, to your impartiality for the insertion of these lines in your next number, and remain your very obedient servant, Newcastle-on-Tyne, Oct. 17th, 1855.

PROVINCIAL.

MUSICUS.

LEEDS.-(From our own Correspondent.)-As the winter evenings advance, so the amusements of every denomination increase, at least in this town. The theatre has opened, and good dramatic performances are being given by a company principally composed of the caste from the Princess's, London. On the evenings of the 11th and 12th inst., the lessee engaged Mr. Sims Reeves to sustain the principal parts in Guy Mannering and Rob Roy. In the former Mr. Reeves introduced "The death of Nelson," but what such a song had to do with Guy Mannering, no one can have any idea; the absurdity of such a practice ought certainly to demand its abolishment. Mr. Reeves, of course, delighted and excited his hearers to a high pitch of enthusiasm, notwithstanding that he was 66 supported" by a wretched chorus, and a worse band. With so much choral materiel at his command in the town, it is a matter of some regret that Mr. Addison (the lessee of the theatre) did not avail himself of it. A "People's Concert" was given last Monday evening, instead of Saturday, in order to give the tradesmen of Leeds an opportunity of attending, they having complained of their inability to attend the Saturday-night concerts. The artistes engaged were Madame Anna Thillon, Mr. Augustus Braham, Mr. Farquharson, and Mr. Case. Mr. Spark and Mr. Case were the accompanists. The concert was varied with some pianoforte playing by Mr. W. Prichard, the blind organist, and Mr. Spark. Mr. Prichard played a solo, "La Cascade," by Pauer, which was redemanded. Mad. Thillon sang almost as well as ever, and additional interest was added to her appearance by the announcement that she was about to retire from public life. Mr. Augustus Braham sang his first song finely, but he was suffering from sore throat, which increased so much as to compel him to forego singing the scena, "All is lost now." Mr. Farquharson was amusing as usual in his buffo singing. The concert was well attended. On Wednesday evening the Anemonic Union gave an admirable concert to a "select few" in the picture gallery of the Music-hall, the numbers attending not being more than 150. The Union is composed of the Harpers, Lazarus, Nicholson, and Baumann. Miss Julia Bleadon introduced several songs in a pleasing manner. The concert deserved a much better attendance.

SUNDERLAND.-(From a Correspondent.)-A new and elegant little theatre is to be inaugurated here in a few weeks. It has been built by Mr. Samuel Roxby at an expense of over £5,000. The interior is modelled after the Théâtre-Vaudeville, Paris. The Lyceum Theatre of this town, despite the apathy and neglect displayed by the manager (Mr. Davis, of Newcastle), continues to do a flourishing business. Mr. Howard Paul and his wife are starring here at present in Albert Smith's Cinderella, and a series of light operettas and musical farces.

AIX-LA-CHAPELLE.-The latest novelty here has been Nicolai's Lustigen Weiber von Windsor.

est

FOREIGN.

LEIPSIC.-(From our own Correspondent.)—First Gewandhaus Concert, and L'Etoile du Nord at the theatre. I have endeavoured to trace back the history and origin of the Gewandhaus Concerts from their very commencement, but have not been able to gather more than a few particulars. Their origin is ascribed to Sebastian Bach, at that time Cantor, or music director at the St. Thomas Church here. The first took place, not in the present spacious building, but in the house of a private gentleman, and was considered a private undertaking, with the limited number of sixteen subscribers, each to pay twenty thalers for ten concerts to defray all needful expenses; on the 11th of March, 1743, the number of applicants to become subscribers, however, increased to such a degree, that the room was found to become too small; it was enlarged in consequence, and about eighty years ago the concerts were removed to the present Gewandhaus Hall, where, through the influence of Mendelssohn and other eminent musicians, they have since attained a name among the best series of musical entertainments in Europe. Perhaps it might not be uninteresting to mention the names of the conductors of these concerts since Mendelssohn's time. They are in the following order: Ferdinand Hiller, Gade, Rietz, David, Gade, and, at present, Rietz again conducts. This year's series commenced on Saturday, 30th September, to an unusually. crowded audience. On entering the hall, we were surprised and delighted on seeing the comfortable change which had taken place in its appearance. The seats have been fresh covered over and almost all ticketed as reserved. Another chandelier has been added in the middle of the hall, and the whole has undergone a new painting, while conspicuously over Mendelssohn's likeness may be seen the very appropriate motto, "Res severa verum gaudium." The programme was as follows:Part I.-Overture to Genovefa, R. Schumann; Recitativ ed aria from Haydn's Creation, sung by Madame von Holdorp, And God said;" Concerto, by Mendelssohn, performed by Herr Henri Wieniawski; Recitative e Duetto, from Mozart's Entführung, sung by Mad. von Holdorp and Professor Götze; Fantasie for the violin by Paganini, performed by Herr Wieniawski. Part II-Symphonia Pastorale (Erinnerung an das Landleben), by L. van Beethoven. The Genovefa overture was charmingly interpreted by the band, with Kappellmeister Rietz and Concertmeister David at their head as usual. Mad. von Holdorp is in possession of a tolerably good voice, and rendered her air with success. Also the duetto was well sung by both singers. The performance of Herr Wieniawski proved him to be a master of his instrument. He has made great progress since the last time he was here with his brother; at any rate, he plays with more energy and fire. He was equally successful in Paganini's fantasia and in Mendelssohn's concerto. Last, but not least, came the Pastoral Symphony. Some German critic-I believe Reichardt-once made a pretty allegory. "Haydn," he said—or wrote, I am not sure which-"has laid out a beautiful garden, Mozart built a palace in it, and on this palace Beethoven has placed a tower. He who wishes to build higher falls down and breaks his neck." When we listen to the music of the Pastoral we almost think it impossible to write anything more simple, more powerful, and sublimely impressive. The band was in good condition, and each part was sustained in a manner reflecting great credit on the performers and the conductor. Meyerbeer's L'Etoile du Nord-in German translated Nordstern-was given on the 4th instant-not, as was expected, on the 3rd, in consecrowded house, all anxious to witness the success of that opera, quence of the arrangements not being quite ready-to a very about which so much has been spoken and written. The principal parts were divided as follows: Der Czaar, Herr Behr; Skawrousky, Herr Marloff; Katherina, Mdlle. Bartel; Prascovia, Mad. Richter; Danilowitz, Herr Schneider; Grilzenko, Herr Brassin, &c. Such were the principals selected to represent that great work of those two successful writers for the stage-Scribe and Meyerbeer. Herr Behr performed his part, both singing and acting, in a praiseworthy manner; he and Herr Schneider were the only ones who were at home in their parts. They gave themselves much pains, and reaped abundant success, the former being recalled on one occasion. Mdlle. Bartel had evidently not