GRISI AND MARIO IN PHILADELPHIA. (From an old Correspondent.) New York, Jan. 13. The Opera is therefore postponed until to-morrow night." Accordingly at an early hour on Friday evening, the theatre was full to overflowing. Now, this had not been the case, by a long shot, on the first opera night, owing probably to the pompous announcement in all the papers, that every seat had been subscribed for. This profound policy had You will see by the date that I write from New York, not quite the reverse effect to what was intended by the 'cute impresario; from Philadelphia. But I have been so much amused in the for, instead of making our people hurry towards the box-office, they perusal of a correspondence addressed to the new musical paper quietly remained at home, not relishing to pay three dollars for a chance lately established here by the brothers Mason, that I seat, or even for no seat at all; and the house, on the first night, was caunot refrain from making you a partner in my merriment. literally half empty. Had the business affairs of the troupe been in the I must tell you it has been the policy of the writers in this hands of an inexperienced young lady, we would call this miss-managesheet to "blow up" Grisi and Mario “sky high," and this policy|ment; but with an old trooper like Hackett-pshaw!" has been thoroughly carried out by their Philadelphian correspondent, who signs himself "A Sharp," but who is better entitled, judging from his criticisms, to be called a flat. Grisi and Mario made their first appearance at Philadelphia on the 2nd inst., in I Puritani, as Elvira and Arturo, of course. (The parts of Ricardo and Giorgio were allotted to Signors Badiali and Susini.) What Mr. "Sharp" thinks of the general performance you will not care to know; but I must give you a specimen or two of the manner in which he pitches into "the incomparable pair," as they were gracefully styled by the old world, until the new world had begun to teach a sounder doctrine. Here is the preamble for Grisi : "But all were now on tip-toe for the appearance of the renowned Grisi, and she was greeted with a perfect thunder of brava! so monopolized by the great prima donna, that poor Susini, although coming on with her, had to retire to the back-ground. Her first recitative seemed to have a singularly cooling effect, as if the audience were afraid of having made a blunder, by mistaking some secondary singer for the expected great one. The fact is, that for purity of tone this recitative was not exactly what it might have been. It could not be owing to the tremulous emotion of a first appearance-she, an old stager! However, at the words, "Sposa!-no!-mari!" her voice improved, and the audience was now almost convinced that it actually heard the far-famed cantatrice. In the subsequent duet her vocalisation was somewhat heavy, and the general delivery so tame, that it produced very little sensation. Madame Grisi probably thought that the audience was rather deficient in appreciating her talent, for, when retiring at the end of this duet, she gave a sort of pouting nod, which was quite as significant as the scanty applause that had caused it." It is evident that undertaker Hackett is not popular. Phineas with his búton, and the orchestra struck up the preludio. All right so And now read Mr. Sharp's appreciation of one of the most transcendent exhibitions of talent the lyric stage has known for years-the last scene in the second act of Lucrezia Borgia, with Grisi as the Duchess: "Our second act of observation was illuminated by a star of the first Mario gets off a little better, the discreet Mr. Sharp being magnitude. Mars outshone Venus! The fact is, that Badiali was quite at a nonplus for something to fall foul upon. He, howin the ascendant, and the rarefaction of his splendid voice filled the ever, rates the accomplished tenor for coming to his "lady-house with rapture; he was the planet of the evening, all other stars love" without a retinue (as if it was Mario's business to notwithstanding. The entire scene in the ducal palace was good. engage and marshal the supernumeraries); and arraigns his Several points of the recitative were artistically made prominent by tones as "nasal and unsteady" at the opening of " A te, o cara!" Madame Grisi; but her "Chi ve ?-oh ciel! Gennaro!" was very tame, Fancy, if you can, Mario's tones being nasal-and in a phrase, and lacked the surprise, the fear-nay, the very look of a horror-struck too, where both the vowels and musical intervals are so favour- mother. Poor Sontag! where art thou? In the duet Madame Grisi able to the free and open emission of sounds! In the next was much more energetic in acting; but her voice was inadequate to scene Grisi is "peppered" for a certain D flat" of such unde- the power required by the situation, particularly for the allegro, in finable intonation, that any kind of shriek would have answered which her high tones were thin and wiry; shrieks of anger issued most just as well." Now, since it is notorious that at the present undoubtedly from the matron's throat; passion and despair shook her time Grisi never attempts D flat, I adopt the conclusion that very frame (and voice), but it was no singing. The final duet between Lucrezia and Gennaro, had nothing remarkable, except that the acting Mr. Sharp's hearing was the real thing "undefinable." Mario is then "lashed" for his abuse of falsetto, in the romanza "A una of the prima donna' was replete with mannerism, a mere running to and fro about the boards, the climax of which was a stupidly-looking fonte," which reminded our "Sharp " of those barbarous times when men soprani were no admittance' to the secret door when the duke re-appeared. And tolerated. In conclusion, down went the curtain." we are told, that the performance of I Puritani was rendered throughout with artistic excellence," and yet "there were also many weak points"-which involves both an absurdity and bad English. If the performance was throughout artistically excellent, there could not have been "also many weak points.' To "render a performance with artistic excellence" is simply nonsense. The next opera (Jan. 5) was Lucrezia Borgia : "Lucrezia Borgia was to be performed on Thursday; and at about 7 o'clock in the evening, our dilettanti could be seen on their way towards the Walnut-street Theatre. Economy, hard times, the unusual high price of seats, and so forth, prevented many from indulging in the luxury of a ride, and, consequently, from splashing with mud their more saving or humble neighbours. The pedestrians, however, proved to have been the wiser in every respect; for, on arriving at the theatre, a placard written probably with a stick, on a dirty piece of paperwas posted up on the door with these words: Signor Mario's sudden illness will not permit the performance announced for this evening. Proh pudor! That such a Midas should be allowed to pass sentence on such an artist! is quite enough to show the extent of Mr. "Sharp's" critical It was "But I must stop; for I am getting sick of having almost nothing else but faults, blunders, deficiencies, and rapacity to speak of. in vain that I repeatedly rubbed the dew from off the lenses of my twin telescope; I discovered but one bond-fide star of the first magnitude, and I might say that the others non erant inventi! I found one or two achromatic stars, plenty of nebula, and a sort of milky way mixed with a good deal of water-not of the first water; but, confound it! we had too often the water without the milk! Let me now turn a new intelligence, and "sentiments of sneer." Quite enough, in all leaf, and get through my unpleasant task." Rapacity" is good from the pen of a Yankee, who has probably apotheosized the "Swedish Nightingale," with her 10,000 dollars a concert, and who will most likely be called upon to sing hymns of praise to the Jewess, Rachel Felix-embalmed or unembalmed, as fate and Barnum may decide with her 1,200,000 dollars for a twelvemonth! The "rapacity" of Grisi is of a piece with the discovery that Sig. Badiali, a respectable barytone, was a "bona fide star of the first magnitude." Another fling at Mario follows-a piece of dirt thrown by a chiffonier at the canvas of the Ecce Homo: "The Grisi and Mario (1) troupe closed their performances in Philadelphia on Saturday, the 6th, with Norma. Signor Mario's name was printed in letters nearly as large as life, on all the posters and handbills; but that was all that was seen of him, and the outsiders could have as full a view of the great tenor as we had inside. Of course no apology was made for his non-appearance. Where's the use? Three dollars a-head is little enough to hear the other et ceteras; and Signor Mario, although announced and paid for, may just as well remain out of ear-shot. I would not advise him to try that trick in any of the cities of Europe; for, if I am not mistaken, the great Signor and his infelice showman would soon find out that rotten eggs would bring as big a price as the tickets of admission for their next appearance.' Bravissimo! And now behold all Mr. "Sharp," in the fulness of his wisdom or the emptiness of his egotism, has to say about the world-acknowledged beauties of Giulia Grisi's Norma:"Madame Grisi, so highly spoken of as the best Norma past (spell that word as you please), present, and to come, sang "Casta Diva" worse than it has been our lot to hear it from third-rate singers; many of the best passages were completely cut up and disfigured by the substitution of other passages in extremely bad taste. "Ah! bello a me ritorna" was better, but not coming up to the standard we have been accustomed to. There, again, we had another batch of tones foreign to the text. Ah! for our ear's sake do give that up, Madame; you can not compose as well as Bellini! Let me remark here, once for all, that Madame Grisi's vocalization is generally heavy, that her trill is harsh and often guttural, but that her chromatics (!) are always perfect. The scene between Norma and Adalgisa was good. The duet went very well as far as the final cadenza; but there poor little Donavani stuck fast, and Norma went on on her own hook, until the violoncello, by giving an extra touch, brought the youngster in again. So much for the assoluta not attending rehearsals. Arditi is also to be blamed; he should always have his violin on the desk, so as to be ready for any such emergency. We now come to a part of this scena in which Madame Grisi was, most emphatically, a very great Norma. Her address of reproach to Pollio, "Oh! non tremare, O perfido!" was truly sublime; the audience was electrified, and so completely taken by surprise, that every one present seemed to forgive her (and others concerned) for the many previous disappointments. This strain was rapturously encored (alas, it was the first instance of the kind), and, although very trying, Mad. Grisi repeated it, not only with perfect good grace, but with a wonderful increase of energy. Having thus paid a highly merited tribute of praise to the now great artist, I am indeed tempted to drop the pen; for it is very painful for one as fond of the art as I am, to throw a damper over such a legitimate exhibition of artistic excellence! But I must do my duty. I'll say nothing more of this act (!). "Act 2.-The night-scene in Norma's room was too formal. When determined to slay Pollio's sons, the words "Ah! no! son miei figli!" had nothing of a mother's feelings. How different from Mrs. Wood's "Ah! no! they're my children!" (!) The duet, "Deh! con te," was tame, and bore evidence that the two ladies had not sufficiently rehearsed together. Pass on, reader, pass on! "In the duet between Norma and Pollio, "In mia man alfin tu sei," the opposite sentiments of sneer and tenderness, of hope and despair, of threatening and beseeching-all so beautifully expressed both in the text and the music-were totally disregarded. "Qual cor tradisti p" was considerably better, but did not elicit the traditional encore. finale was-let me see! Why, it was-it was the finale; is not that enough ?" The Quite enough, Mr. A. Sharp! Quite enough, thou veritable noodle, with a great liver and a little heart, an overflow of bile and a scant quantity of blood, an excessive arrogance, spare conscience. I wish you no severer punishment than to be obliged to listen, seven times a week, to such a Lucrezia as "poor Sontag," and to such a Norma as "poor" Mrs. Wood-consoling yourself meanwhile with Lorini (as Arturo and Pollio), Arditi, "the masterly," as chef d'orchestre-and, to crown all, that unequalled phoenix, Badiali, as a specific for deficiencies and disappointments. Happily, the reputation of Grisi and Mario is too well founded and too firmly established to be shaken by the efforts of such small talk and scurrility. And there's an end for the present. If the spirit moves me I may write to you again before long. W. a REACTIONARY LETTERS. No. IV. (Continued from page 49.) WAGNER says: Shakspere has only dramatised romances, while Schiller, impelled towards the antique, pure form of art, has remained suspended in the air, between heaven and earth; and that, since his time, dramatic art in Germany has remained in the same state of suspension: that the heaven is the antique form of art, and the earth the practical romance of the present day: that Goethe is even a greater imitator of Shakspere than Schiller; that neither, however, was capable of creating a real drama: and that romance alone, however, can represent artistically the element of our life in the most intelligible manner. "While Romance," to quote Wagner's own words, became which is destined to destroy this foundation of our life, a clever summons to the revolutionary strength of the people, poet, who, as a creative artist, never possessed the faculty of mastering any subject for the real drama, found means to induce an absolute prince to command the director of his theatre to have a real Greek tragedy represented in all its ancient integrity, while a celebrated composer received orders to write the necessary music. This drama of Sophocles proved, in relation to our present mode of life, an artistic falsehood, etc. Strange! Modern romance had turned to politics, and politics became a blood-stained battlefield; while, when the poet, on the prevailed upon a reigning sovereign to command the represenother hand, anxiously yearning to behold a perfect form of art, tation of a Greek tragedy, the tragedy selected should be no other than our Antigone. state! purely developed, and, lo and behold!-it was the very one "People looked for the work in which artistic form was most whose contents were the purest humanity, the destroyer of the How delighted the learned old children were with had the roses strewed from above, which the band of rethis Antigone, in the Theatre Royal, at Potsdam! They to fall from the long deeming angels in Faust caused and straight, and long and crooked horn, as flames of love upon the betailed 'thick and thin devil,' but unfortunately the roses only arcused in them the repulsive longing that Mephistopheles felt while they were burning-they did not arouse love! The ever-womanly feeling did not attack them,* but the ever old-womanly completely brought them down to the ground. Holy Antigone! thee do I invoke! let thy standard wave, that, under it, we may destroy and redeem!" Antigone, an opinion which, in reality, was enounced by Hegel, Wagner perceives the highest revolutionary notion embodied in and chooses Lohengrin in order to develope this first principle— Lohengrin, whose whole existence is founded upon a more than ordinary enthusiastic feeling of religion-Lohengrin, who holy Graal, as we learn at the conclusion of the opera. By the was one of those holy knights employed in the service of the word Graal is signified the blood of our Saviour, which Joseph of Arimathea is reported to have caught in a precious jasper dish. In honour of this holiest of all relics, Titurel builds a temple at Montalivacz, in Spain. The dish, surrounded by preternatural brilliancy, floats in the air, while some writing upon it, makes known its commands. The Grual selects the noblest knights for its service, and such a noble knight is Lohengrin, who * A quotation from Goethe's Faust. has been commanded to interest himself for " Elsa of Brabant." That he should instantly exclaim, "I love you," is perfectly operatic but that he should forbid her ever to ask, "Who he is and whence he comes" is very-childish, and on this question turns the whole, opera. Elsa has naturally a female acquaintance, who says to her: "Ask him all the same," and Elsa asks. This is the grand idea which Wagner embodies: the purely human. Very true, curiosity is a purely human, or rather purely womanly feeling, but not sufficient to rivet our souls for an entire evening. In Antigone, it is the strongest brotherly love, in Iphigenia, the same; in Othello, jealousy; in Romeo and Juliet that spring-tide love, which has not reached the foliagestripping season of Autumn, and firmly believes that it will remain green and blooming over the snows-decked grave of winter. In all these works there is a something which repays a person for sitting a whole evening and listening to the sentiments of the Dramatis Persona; but a mere feeling of curiosity is certainly too trivial, and contains too little to develope the depth of art. Tuis opera consequently will not be successful on the stage, although containing SO many detached beauties, that it is worth our while to become acquainted with them in some other manner; for works, which, on account of this or that prominent quality, or a new tendency, necessitate great expense in their production, can only be expected in a Royal Theatre. The new tendency, however, consists in the fact that the rules of modulation sauctified by time, have been trampled under foot. By this means striking effects have sometimes been obtained, although, on the other hand, the continual wish to produce something wonderful in this particular has often given rise to the most outrageous extravagauce. Moreover, the voices in the duets seldom come together (a fac which is esteemed of very great importance, although sensible com users have, under particular circumstances, adopted the same plan before Wagner). Finally, the arrangemeut of the vocal parts is frequently most unskilful, and jagged in the ensembles, difficult to intone and of no effect, as, for instance, the part of Lohengrin in the finale of the first act. Expression is everything in art; it is its soul, its life, its fire, which Prometheus stole from heaven. To find any expression, however, in the series of intervals (for it cannot be called melody) of Lohengrin, from the passage "Den Sieg hab' ich errungen" (I have won the victory), would require the imagination of a Brendelist. It is, also, a matter of boast that Wagner does not repeat the words as often as other com posers. Let the reader only listen with a slight degree of attention to his king, who is continually intruding in the first finale with "Ruhm deiner Fahrt, Pries deinem Kommen! Heil deiner Art, Schützer der Frommen! Du hast gewahrt das Recht der Frommen! Preis deiner Fahrt, Heil deiner Art! Preis deiner Fahrt, Heil deiner Art! Heil sei deiner Fahrt, deinem Kommen! Heil deiner Fahrt, deinem Kommen, deiner Fahrt! Heil deinem Kommen, deiner Fahrt! Ertöne Siegesweise, dem Heldem laut zum höchsten Preise! Ruhm deiner Fahrt! Heil deiner Art! Ruhm deiner Fahrt, Heil deiner Fahrt, Heil deiner Art, Heil, Heil, Heil deinem Kommen! Heil deiner Fahrt, Heil deinen Kommen! Heil deinem Kommen, deiner Fahrt," and soon, for four lines more, "Heil deiner Fahrt!" We generally possess a sense of what is becoming, and an idea of right and wrong, when we have to blame others, but unfortunately we are often deficient in these qualities when we ourselves are concerned. This is the case with Wagner. He ridicules such instances in the works of older composers, and does the same thing imself. We have, at present, treated him severely, and have principally confined ourselves to noticing his inconsistency, but we shall take an opportunity of mentioning what he has done that is really beautiful, though we cannot at this moment resist again remarking how disagreeable is the straining after effect in this composition, which relies so much upon the words. For instance, in the adagio (E flat major) of the first finale, where the King has to sayTrug und Wahrheit," high B flat; "klar erweist," double f, g, a, b-why this deep fall? Only that the basso may produce his double f. In this clear truth there is truly no more truth than if the manager of a theatre were to say to a composer: MANCHESTER. (From our own Correspondent.)-The Classical Chamber Music Society gave its Sixth Concert at the Town Hall, on Thursday, the 25th. The following was the programme-Part First. Chamber Trio-pianoforte, violin, and violoncello; (In A. Op. 26) W. S. Bennett. Two Melodiesviolin; (Romance Vivace) Molique. Grand Sonata-pianoforte and violoncello ; (In D, Op. 58) Mendelssohn. Part Second. Trio-pianoforte, violin, and violoncello; (In G, Op. 1, No. 2) Beethoven. Stücke im Volkstone-piano and violoncello; (1 in A minor, 2 in F, 3 in A minor; 4 in D) R. Schumann. Grand Sonata-pianoforte and violin; (In A minor, Op. 47) Dedicated to Kreutzer. Beethoven. This was the third appearance of Herr Ernst this season at the above concert-Mr. Hallé and Signor Piatti being, as formerly, at their posts at the pianoforte and violoncello. The programme differed from the usual routine, inasmuch as two trios and two sonatas were given, which is certainly one too much-from eight to a quarter past ten is quite long enough for a concert of this kind, and the above was not over until eleven! This is the only objection; the quality of the selection is undeniable. Mr. Sterndale Bennett's charming trio was a decided feature, and gave great satisfaction to the cognoscenti. Elegance and originality are not the least of its beauties-it is sterling good music. Herr Ernst gave two delightful little pieces for the violin (composed by Molique, and dedicated to Ernst), to which he imparted such a grace, that he was rapturously recalled. He then gave his own Elégie," in such searching, thrilling tones, as to keep his audience spellbound until the last note of his performance. At the end there was such an enthusiastic burst of applause, as we never heard before at the Chamber Concerts. Mendelssohn's fine sonata was the next great treat, and was splendidly played. Beethoven never disappoints. His trio in G, Op. 1, No. 12, although differing so widely from his later and grander productions, is eminently melodious, and certain to delight all hearers. Herr R. Schumann's duo is well calculated to display the talent of a violoncellist like Signor Piatti. Last came the favourite and well-known Kreutzer Sonata of Beethoven, in A minor, in the execution of which, and still more in feeling and expression, Herr Ernst, in our opinion, surpasses all living violinists. The variation of the second movement for the violin was given with such passion and fervour as even at that late hour to command an encore. The great violinist was well and ably supported by Mr. Charles Halle. The room was well filled; but coaches and carriages being ordered, as customary, at ten or a quarter past ten, many of the audience had to leave after the Beethoven trio, and the room was still further thinned after the Schumann duet. The now venerable Chevalier Neukomm was present, and seemed to enjoy the concert very much. The seventh concert is fixed for Thursday next, the 8th inst.-A private concert was given on Wednesday last, at the Concert Hall, when Mendelssohn's Meerestille, Weber's Euryanthe, and Beethoven's Symphony in D were done, with some glees, by a party of local singers, assisted by Miss Whitham, of Leeds. LIVERPOOL.-(From our own Correspondent.) - Contrary to general expectation, Mr. E. W. Thomas's Shilling Concerts at the Philharmonic Hall have been brought to a close without one overflowing house. Even on Mr. E. W. Thomas's benefit, though there was a good attendance, the hall was not crowded; and on the last night, Saturday, the audience was only thinly scattered over the benches, notwithstanding the attraction of the chefs-d'œuvre of Mozart, Mendelssohn, and Beethoven, for the programme of the first part, after the manner of M. Jullien in London. No complaint can be made that the music was not good, for many of the concerts would have done honour to the Philharmonic Society. The lovers of Mendelssohn have had their fill the advocates for whole symphonies have had them entire. Those who objected to the miscellaneous selections of M. Zelger, Georgio, and Signor Fortini, R.ccardo. To-night FOREIGN. airs from operas, have been gratified by the first act of Le Prophète. Those who objected to the dance-music have been troubled with very little. Those who have objected to Bochsa's musical voyage, were conciliated by its abandonment after a few evening's performance. Those who objected to "trumpery ballads," have been invited to listen to the grandest vocal compositions, but all in vain. Mr. Thomas may say, with the children in the parable, " We have piped, but ye have not danced," and we regret to say he concludes this spirited effort to gratify the public at Liverpool with a loss of nearly £200. I cannot help thinking that Mr. E. W. Thomas has been in this instance very like the old man and his ass: trying to please LEIPSIC (From a Correspondent).-During the course of this everybody he has pleased nobody; or, at least, not a suffi- winter we have been in no want of musical entertainment here, cient number to pay for his unceasing efforts. The whole for although the concerts of the Gewandhaus have not been so symphonies, I am inclined to think, were prematurely sub-crowded as in former years, the directors do not slacken in their mitted. Had Mr. Thomas first felt the way with single move- endeavours to give performances of the highest interest, and to ments more frequently, he would not only have conciliated his engage the services of artists possessing first-rate talent. It is audiences, but have taught them the knowledge and appreciation not my intention to enter into a glowing eulogy of the Gewandof good music. The act of the Prophète was also a mistake; the haus Concerts, since this would only be reviving a worn-out selections were naturally the most popular. The audience go to theme. My object is rather to inform you of "musical doings" be amused, and for them the music must be pleasing, and gene- in general. It has been in contemplation to enlarge the Gewandrally should be exhilarating. This need not exclude good music, haus, next spring, by adding another gallery in place of the for the animated portions of symphonies were always well present basement, which for such a purpose must be lowered; received. The principal works given during the series have but the question to be decided is-Will not this alteration affect been the Jupiter Symphony of Mozart, the Pastoral Symphony the vibration of sound? It is a well-known fact that the concertof Beethoven, his symphony in C minor, Mendelssohn's music to room was constructed on very just acoustic principles; the the Midsummer Night's Dream, Spohr's duet for two violins, by directors must, therefore, be careful into whose hands they Messrs. Thomas and Blagrove, Gounod's trio from Bach, for entrust the modification of so valuable a building. Up to the violin, pianoforte, and organ, De Beriot's tremolo for the violin, present time, however, the step has not passed into a resolution. played by Mr. H. Blagrove, operatic selections from Don Gio- I said that the directors endeavoured to secure good artists for vanni, La Sonnambula, Lucia di Lammermoor, Robert le Diable, their concerts, in proof of which I have only to men on the and the Huguenots. It cannot be expected that Mr. E. W. name of the famous English pianist, Miss Arabella Goddard, Thomas will continue his concerts at a loss; but it is to be hoped whose success has been noticed in previous numbers. This that some measures will be taken to prevent such a series of amiable young lady is in possession of admirable talents, which concerts being discontinued for want of support in a town that induce us to anticipate that she will become an artist of the arrogates to itself the honour of being the greatest seaport, and, very highest classical order. It is her intention shortly to in the present estimation of commercial enterprise, almost the proceed to Vienna. Another young artist, Herr Anton Rubenmetropolis of the world. stein, has lately made a sensat on here. His first contribution to the Gewandhaus Concerts was a 66 symphony," fantastically entitled The Ocean Symphony, which was performed with success. At the "Abonnement Quartett" Concerts we heard a trio for piano, violin, and violoncello, composed and performed by the same young musician, assisted by Herr Concertmeister David and Herr Grützmacher, which created a very favourable impression. As a pianist, Anton Rubenstein is an eminent disciple of the school of Franz Liszt, You will, no doubt, soon hear more about him in England. The present conductor of the Gewandhaus, Herr Rietz, will leave us at the end of this season: he is engaged to succeed the late Schneider as Kapellmeister at Dessau. The reason why Herr Rietz preters this new situation to his present one is a mystery. The question now, however, is, Who is to conduct the concerts next winter? Herr Niels Gade has been mentioned; but nothing is settled, and as the Germans say— "Kommt Zeit kommt Rath." ROCHESTER.-On Wednesday evening last, Mr. Hopkins gave the second of his subscription concerts at the Corn Exchange. Miss Rebecca Isaacs and Miss Lizzie Stuart, with Messrs. Young and Howe, were the principal vocalists. The instrumentalists were Mr. Wells, flute; and Mr. Maycock, clarinet. Miss Lizzie Stuart, who made her second appearance in this city, sang Benedict's, "By the sad sea waves," with much feeling, and was encored, as also in a manuscript composition, "The young miller." Miss Rebecca Isaacs sang "The meeting of the waters," and was also encored; also a new song by Edward Loder, "Ill wander alone," and, on its being redemanded, substituted a patriotic song. Mr. Wells performed two fantasias on the flute, and Mr. Maycock a selection from Nina on the clarinet, and another solo. These gentlemen also performed a duet on Irish airs.-South Eastern Gazette, Jan. 30, 1855. WHITBY.-On Tuesday evening, the 22nd inst., a miscellaneous concert, under the patronage of the Local Committee of the Patriotic Fund, was given in the Lecture Hall by the Phil-Time will show. Gade has already conducted the concerts at harmonic Band, when, notwithstanding the inclement state of the Gewandhaus, having been recommended by Mendelssohn. the weather, the room was well filled. Mrs. Clarkson, Miss Madlle. Anna Zerr has arrived here to fulfil an engagement at Irving, Mr. Varley, and Mr. Greenbury, were the vocalists. the Opera, but is at present prevented from appearing, in conseMaster Henry Chambers played on the harmonium, Mr. Mercer quence of a slight illness. It is to be hoped she may soon recover, conducted, and Mrs. Ripley presided at the piano. for since Madlle. Wiedemann left us, we have had no good singer at the theatre. From the papers I learn that Meyerbeer's Etoile du Nord will be given at Dresden, in the course of next month, when the celebrated composer will conduct the performance himself. I have no more news, therefore Auf Wiedersehen. EDINBURGH.- (From a Correspondent), February 1st.-The German-Italian company-who last season appeared at Drury Lane, and made a tour in the provinces have been prosecuting an engagement here for the last fortnight. On Tuesday, Lucia di Lammermoor was given, with Madame Rudersdorf as Lucia, Signor Gaggiati as Edgardo, Signor Fortini as Enrico, and M. Zelger as Raimondo. The Edgardo was not very brilliant. By the way, do I seem very ignorant in asking who is Signor Gaggiati Madame Rudersdorf was hardly in her line as the love-lorn Lucy. Nevertheless, she sung and acted admirably. Her mad scene was powerful. I Puritani was performed on Tuesday, when Signor Octave Benedetti appeared as Arturo, with little or no effect. Madame Rudersdorf was the Elvira, VIENNA. (From our own Correspondent.)-After being shelved by the management for a long period, Norma has been revived at the Imperial Operahouse for the début of a Mad. Doria Lasslow, who is engaged upon trial, or, as we say in Germany, as a "guest". The lady was very much applauded, although far from being a first-rate artist. She may do very well as a "double," if the prima donna should happen to be hoarse or indisposed-to sing. Madlle. Wilhelmina Clauss has given her first concert, and created a great sensation. Every one is in ecstacies about her personal appearance, her grace, her technical skill, her method, and her execution. She played among other pieces, Beethoven's sonata in F minor, (the Apassionata) three of Chopin's compositions, including the Impromptu in A flat, and one of the Nocturnes, Stephen Heller's Jagd, (Chasse) and one of Mendelssohn's Lieder ohne Worte. Madlle. Clauss was enthusiastically applauded, and recalled several times. Herr Hölzl was the vocalist, and sang three of his own songs. The mandoline virtuoso, Herr Vailati, gave his third and last concert-a morning one-on the 21st inst. The attendance was no better than on the two previous occasions. On the evening of the same day, Herren Hellmesburger, Durst, Häuslinger, and Schlesinger brought their series of quartet concerts to a close. The programme included a quartet by Beethoven and one by Haydn, both in D major, and a sonata by Mozart for two pianofortes. The last, almost a novelty here, and admirably played by Herren Pirkhert and Derffell, was rapturously applauded. NOTICE. In consequence of the unusual press of News and Correspondence, our Reviews and several articles of importance are unavoidably postponed until next week. In accordance with a new Postal Regulation, it is absolutely necessary that all copies of THE MUSICAL WORLD, transmitted through the post, should be folded so as to expose to view the red stamp. It is requested that all letters and papers for the Editor be addressed to the Editor of the Musical World, 28, Holles Street; and all business communications to the Publishers, at the same address. CORRESPONDENTS are requested to write on one side of the paper only, as writing on both sides necessitates a great deal of trouble in the printing. TO ORGANISTS.-The articles on the new organs, published in the volume for 1854, will be found in the following numbers: 28, 30, 32, 33, 34, 36, 37, 38, 42, 45, 47, 49, 51. effect: "The Directors extremely regret to inform their friends and subscribers that, but a few hours since, they received intelligence from several important and leading Members of the Orchestra, that Mr. Gye, of the Royal Italian Opera, late last night, refused permission to allow them to attend the performance of the Harmonic Union this Evening, although those gentlemen had unconditionally accepted the engagement offered them by the Directors, and had attended the rehearsal on Monday last. The considerate indulgence of the audience is therefore requested, as this most unprecedented and arbitrary proceeding has compelled the Directors to engage other gentlemen, who have kindly consented to play, at a moment's notice, although without the advantage of a rehearsal." In disputes between entrepreneurs, managers of theatres, etc., with orchestral performers and chorus-singers, the former are nearly always in the wrong. Might assumes the place of right; exactions are made, threats held out, and the needy man is obliged to yield. If ruin stares him in the face, he must perforce give in. It is well for those who have means and can afford to lose engagements, and for those who have large teaching connections; they may snap their fingers at theatrical managers and concert directors en masse. But the other poor devils, who live by their fiddles, and in default of employment must boil down the catgut and rosin into an unsavoury soupe maigre, the case is very different. They are too often, like Shakspere's Apothecary, reduced to shifts, to which their "poverty and not their will consents." They must play vile music as the lean man of henbane sold drugs to Romeo, and poison the public as he the ill-starred lover. There is no alternative. Starve they must, or do what they are asked. Now, such a state of things, the importance of the orchestra and chorus to the higher ends of music taken into consideration, is positively too bad-subversive, indeed, of all moral right. There is neither rhyme nor reason in it. The art is degraded in the persons of its followers, and they little better than contumely. Therefore if for no other who are entitled to respect and consideration, come off with reason, if not for their deserts, which are great and undeniable, or their industry, intelligence, and hard-working habits, which are exemplary-we take up the cudgels in their behalf. It is enough that their means are scant and their position deplorable, to justify the Musical World in acting as their advocate, throwing over them the shield of its influence, and brandishing the sword as their champion. We repeat that, in quarrels between managers and "ripieni" (pass the term-it is technical), managers are nearly always wrong," ripieni" nearly always right; managers the aggressors, "ripieni" the aggrieved; and for that reason we have always pleaded, and shall persist in pleading, for the latter. As France and England take the part of the Sultan against the Autocrat, so do we espouse the cause of the orchestras against the despotism of impresarii-with one grave distinction, however, that, as the Gallic "eagle" and the British breast of the miserable Turkey, we anticipate no fraction of "lion" are hungry for a wing, a leg, or a slice from the their salaries from our allies of the fiddle and the choir. In the present case, however, we are brought to a standstill. With the best wish to fight the battle of the band, we are unprovided with weapons offensive or defensive. What plea the directors of the Harmonic Union can possibly urge against Mr. Gye, because Mr. Gye declines to weaken the attractions of his own concerts, in order to strengthen theirs, we are wholly at a loss to surmise. Nor are we better furnished with an argument in favour of those instrumentalists, who, it would appear, accepted two engagements on the same evening. The complaint of the Harmonic Union, on the one hand, is plainly ridiculous. The case of the "several important and leading members" on the other, is anomalous and untenable. We hope our allies will take it in good part, that, while anxious to uphold their interests and espouse their cause, whenever that is practicable, we have still the courage to admonish them when we believe them to be in fault. The observation of The Daily News that "According to this statement, Mr. Gye's proceeding appears to have been extraordinary, and certainly demands explanation"— |