FOREIGN.

NEW YORK.-The opinions about Mr. Bristow's new opera, being sobered down in their eulogies on the part of his enthusiastic friends, and being uttered with more fairness, after consideration, by his opponents, are now altogether more worthy of credence. That Rip Van Winkle is no great or profound work may be gathered from all judgments; and that it contains some pleasing and well written music is no more than may be inferred from the composer's antecedents. Meanwhile the New York Musical World ventures upon lending its counsel to Mr. Bristow, and appears harder on him than the other papers.

"Rip Van Winkle," writes our contemporary, "continues to fill Niblo's Gardens. Our 'George' has every cause of congratulation on his success. No subject for an opera more popular in this country could have been secured, and it is popularly handled by librettist and composer. We think that Mr. Bristow would learn a great deal as to the effect of his own music if he would transfer his bâton as leader, for an evening or two, to some other capable person, and take his seat in the upper circle, as we did one evening. The blemishes of the opera, which it is so desirable for a composer in any case to know, would then be evident to him. That the brasses of the orchestra are, as a general thing, much too heavy for the strings, oftentimes completely quenching their subject and conveying to the ear only harsh and oftentimes imperfect accompanying chords, instead of the delicate melodical passages which we know are going on with the violins (like an orchestra heard at a distance)-would become apparent. And thus, in every depart ment of the opera, a composer at that distance and at that height, where every sound is distinctly conveyed to him, would hear his music as others hear it-a great point gained. We trust that our friend Mr. Bristow will make this first opera a great study, to improve upon. He could not be put through a better school."

We are glad to hear that the opera is doing, and is likely to do well; but how does it happen that while every other paper finds fault with the libretto, the Musical World alone praises it.

In a "delayed article," in the same journal, on the same subject, there are some pertinent remarks, touching upon the much-and-oft-mooted question of the want of a national school of composers in England, which will be found not altogether unworthy of perusal.

"Rip van Winkle," says the writer of the delayed article, "is the first work of Mr. Bristow as an operatic composer, although this is not the first American opera by an American. Mr. W. H. Fry has also written an opera, which, from our knowledge of Mr. Fry's musical talent, cannot have been devoid of merit. The opera of Rip van Winkle is an American opera, pure blood. The subject is American, taken from the works of an American writer of celebrity; the author of the libretto is American, and the composer of the music is a Native American. Nothing is wanting here to attract the attention of an American audience; everything here is calculated to appeal to national pride. Indeed, from the very first day, public favour has attached itself to a work born under such favourable auspices. But if the sub ject be quite American, is the music of Mr. Bristow quite American? Though agreeable and fluent, it is somewhat devoid of character. It takes a long time before a nation has adapted art to its own nature. This is the result of perseverance, of effort and struggle. Modern music was born in Italy. The Germans studied the Italian mastera, but they digested it into their own nature and feelings. Next came the French school, which after imitating the Italians, and, to a certain extent, the Germans, created also a music of its own; yet still it is to be remarked that the French are really original only in the Opéra Comique. In the Grand Opéra they imitate more or less the German or the Italian schools. What is, and what will be, the English opera? No English composer, so far as we know, has resolved this question. The operatic music of English masters of our day is shaped and written after the Italian pattern. If the English had a genuine form of opera, it is probable that it would serve as a model to composers of this country; as the English have not yet an opera of their own, (sui generis) it would be unfair to demand of Mr. Bristow a school of an American stamp. It is from such a point that we have to judge his work. It would be absurd to demand of one who writes for the stage for the first time a great creation or a masterpiece; for this requires, first of all, experience. If we find in Mr. Bristow's work an appropriate use of the forms of the existing musical drama he will be fully justified."

For a "delayed article" these observations are not to be despised.

Mdlle. Vestvali left New York October 5th, for Mexico. The Italian opera season commences Oct. 20th, under the direction of Amileare Roncari; three prima donnas are secured, Signora Del Monte, Signora Manzini, and Signora Vestvali (contralto). Tenors, Signors Graziani and Giaconi; baritone, Sig. H. Winter; basso, Sig. Garone; conductor, Sig. L. Winter. Chorus, thirtysix persons; orchestra, forty-five. The season will open with Norma, Bellini; Lucia, Donizetti; Louisa Miller, Verdi; Semiramide, Rossini; Romeo and Giuletta, Bellini; and Lucrezia Borgia, Donizetti.

The Italian opera at the Royal Academy of Music has not Lagrange. Two causes have been assigned-high prices and hitherto been successful, despite the attraction of Madame old and indifferent pieces. Linda is too hacknied, and Il Trovatore not well cast. Masaniello was subsequently tried, and was found "no go," from the incompetency of the cast.

PHILADELPHIA.-The Musical Fund Society gave the first concert of the season on the 29th of September, for which they secured Mdlle. Vestvali, Messrs. Bernardi, Ceresa, Schreiber, and Dressler. The large hall was filled with a delighted auditory. Mr. Schreiber, the cornet player, was esteemed, by many, the best artist ever heard on that instrument.

HAYMARKET.-A very old, and, moreover, a very homely proverb, informs us that it is impossible to make a silk purse out of a sow's ear. This proverb was never more triumphantly and irrefutably proved than on Saturday last, by the new play entitled The Beginning and the End, written by Mrs. Lovell, the "English authoress" of Ingomar-which means that she translated or adapted Herr von Halm's Sohn der Wildness. Miss Cushman, who sustained the principal female character, devoted all the energy and intensity of her great talent to the transformation of the "sow's ear," but all her efforts proved unable to turn it into a "silk purse." How so gifted and accomplished a lady as Miss Cushman could ever consent to appear as Hesther Lambert, or imagine that all her genius could impart interest to such a kitchen Lady Macbeth, we are perfectly at a loss to understand. It has hardly ever been our ill-fortune to witness such a dreary production as the Beginning and the End. Had the audience derived any amusement from the first two acts, which pass almost entirely in the sick-room of an old curmudgeon of a Dutch merchant, who gets into bed, and gets out of bed; bullies the Doctor, whose medicine he designates as "nasty stuff," and refuses to take, like a fractious child; who coughs and wheezes; who says he "won't die yet," and unfortunately keeps his word only too long-if, we say, the audience could desire any amusement from such a subject as this, then should we expect that the Boards of the Metropolitan Hospitals, taking the hint, would advertise to the effect, that the wards of St. George's, the Middlesex, or St. Thomas's, etc., would shortly be opened as promenades for the public at the price of one shilling per head. Luckily, however, this is not to be feared, as yet, at least, for the audience plainly expressed their ennui and disapprobation, which went on increasing during the remainder of the piece, until it reached its climax at the falling of the curtain. "Extremes meet," we are told. This is certainly the case in the present instance, for the "End" has certainly proved synonymous with the "Beginning."

We cannot conclude our notice without mentioning Mr. Chippendale, who proved himself a consummate artist, and fairly took the unhappy, weak-minded forger, Joel Lambert, who strives to us by surprise. Nothing could be finer than his delineation of shattered mind, and the flashes of anguish which, with returning drown his remorse in brandy. The occasional awakening of his consciousness, tortured his repentant soul, were rendered with the nicest discrimination. We only hope we may soon see Mr. Chippendale in some better character of this same line. must not think his merit was unappreciated, because he will not be called upon to repeat the part very often. He gave us the authoress's intentions like a great actor, but it is precisely because he did so that the character was more than ordinarily disagreeable. All Finden's talent would not make Medusa's head look agreeable in the Book of Beauty.

He

CONVERSATIONS WITH ROSSINI.

BY FERDINAND HILLER.

"Он, these journalists!" exclaimed Rossini, one day: "here is one of them, who says that when I left Paris, a short time since, the railway was almost as distasteful to me as German music! What do you think of that?"

"That you would travel a great deal by rail, if it were true, my dear maestro," I replied.

"Not only," said Rossini, "do I like the German masters, but in my youth I made them my especial study, and never omitted any opportunity of rendering myself better acquainted with them. How much pleasure have you not already afforded me by your performance of Bach's compositions!"

"I never played these magnificent productions more willingly," I replied, "than when I did so for you."

"What a colossal nature is Bach! It is perfectly unintelligible how any one could write such a mass of musical works in such a style. What is difficult, and, in fact, impossible for others, was mere child's play to him. How goes on the splendid edition of his works? I first heard of it through a Leipsic family, who visited me in Florence, and through whose instrumentality, probably, two volumes were sent me-I should like the others though."

"Nothing is easier," I answered, "you must subscribe to the work."

"With the greatest pleasure in the world," said Rossini. "Your name among those of the members of the BachSociety! I shall be rather proud of what I have achieved," I replied.

"Bach's portrait in the first volume is splendid," continued Rossini, "it expresses extraordinary mental energy. Bach must have also been an eminent virtuoso."

"The greatest composers of the present day are delighted if they succeed in learning how to play a few of his works wellhe himself used to extemporise them," I replied.

"It is seldom that such a man is born," observed Rossini. "Do you perform many of his works in Germany?" "Not so many as we ought," I answered, "but still we perform a great many."

"In Italy it would not be possible to do such a thing, and at present less than ever," said Rossini, sorrowfully. "We cannot form large choruses of amateurs as you do in Germany. Formerly, we had good vocalists in churches and chapels-but they are all gone. Even with the Sistine chapel matters have retrogaded since Baini's death. Apropos, how stands the dispute concerning the genuineness of Mozart's Requiem? Have you come to any certain conclusion ?"

"No," said I, "we are not further advanced than you yourself know."

"At any rate, no one but Mozart ever composed the 'Confutatis,"" exclaimed Rossini, singing the commencement. "How grand! And the sotto voce at the end! What modulations! I always had an especial predilection for the sotte voce in choruses-but as often as I heard this one, an icy shudder used to run down my back. Pauvre Mozart!

"In a biography, which, properly speaking, concerns you, the author says that it is doubtful whether Mozart ever laughed three times in his life. What do you think of such nonsense? The book contains a great deal on which you must enlighten me. Is it true, for instance, that you asked your old teacher, Padre Mattei, after a short time, whether you knew enough to write an opera, and, on his answering in the affirmative, instantly decamped?"

Nothing can be less true," said Rossini. "I had studied at the Liceo in Bologna for three years, during which period I had been obliged to exert myself to the utmost, in order to provide for my own subsistence and that of my parents. I succeeded, it is true, but very wretchedly. I accompanied the recitatives on the piano, in the theatre, and for this I received six paoli a night. I had a good voice, and used to sing in churches. I also composed, now and then, in addition to the exercises Mattei set me, some profane piece for a singer like Gamboni and others, to introduce in an opera or concert, and for this they used to give

me a trifle. When I had worked my way through counterpoint and fugue, I asked Mattei what he intended I should do. The plain-song and the canon, was his answer. How long would this require, was my next question. About two years, was the reply. I was not able to wait so long, however, and I explained this to the good Padre, who clearly perceived the validity of my reasons, and remained as partial as ever to me. I myself have, subsequently, regretted often enough not having worked with him longer."

"You were able to get on without the canon," I observed laughingly. "Mattei was an excellent master, was he not?" "He was excellent when he had his pen in his hand-his corrections were highly instructive. But he was fearfully monosyllabic, and it was almost necessary to extort every verbal explanation from him by main force. Have you ever seen any of his compositions?"

"No," I replied, "I never came across any of them." "If you ever revisit Bologna," said Rossini, "do not fail to examine them in our Liceo. They are all for the Church, and the solo passages are not prominent, but the pleni, as we Italians call them, are admirable.

"I must again return to the days of your youth, my dear maestro," said I. "You composed a great deal before becoming Mattei's pupil, did you not?"

An entire opera, Demetrio e Polibio, which has always subsequently been classed amongst my works," answered Rossini, "because it really was produced, after some other dramatic attempts, four or five years subsequently to its being written. I composed it originally for Mombelli, without even being aware it was an opera. When I then commenced taking lessons of Mattei, for the first few months I could not produce anything; 1 trembled at every bass note, and at every tenor gave a slight shudder. Subsequently I recovered my former courage." "That was very fortunate. Had you, then, begun to learn music, while you were still in Pesaro ?"

"I left Pesaro, when I was quite a child," said Rossini. “My father was employed there by the commune, as town-trumpeter; besides this, he played the horn in the theatre, and got on very tolerably until the arrival of the French, when he lost his place. My mother possessed a good voice which she turned to account, to help us out of our trouble, and then we left Pesaro. Poor mother! She was not without talent, although she did not know a single note. She sang as orechiante, as we call it, completely by ear. I may here casually observe that, out of a hundred Italian singers, eighty are similarly circumstanced. I can comprehend that these persons may learn how to hum a cavatina by heart-but how they ever manage to recollect the tenor part in concerted pieces is a mystery to me."

"A man must either be very musical or very unmusical; but come, let me beg of you to return to yourself," said I, somewhat impatiently. "Where did you begin to learn music?"

"In Bologna," said Rossini. "A certain Prinetti, of Novara, gave me lessons on the spinet. He was a strange fish. He used to manufacture some slight amount of liqueur, gave a few lessons, and thus gain a livelihood. He never possessed a bed, but used to sleep standing."

Standing!" I exclaimed; "you are joking, maestro."

"It was as I say," replied Rossini. "At night, he would wrap himself up in his cloak, lean against some arcade or other, and so go to sleep. The watchmen knew him and did not disturb his slumbers. He used to come to my room, at a very early hour, and, pulling me out of bed-a course of proceeding with which I was not at all pleased-make me play. Sometimes he had not rested sufficiently, and fell off to sleep, still standing, while I was exhausting myself upon the spinet. I used to seize the opportunity and creep back again under the clothes. When he looked for me there, on his awaking, he was pacified by my assurance that, during his nap, I had played the piece through without a fault. His method was not precisely the most modern. For instance, he made me play the scales with the thumb and the forefinger."

"A certain Angelo Tefei," said Rossini, "taught me to play the figured bass, and the accompagnamento, and made me practice solfeggi. Babini, formerly a celebrated tenor, gave me the more advanced instruction in singing. I used to sing very well, when a boy. At that period, I once appeared on the stage, and sustained the part of the Boy, in Paer's Camilla." "Did any other of your fellow students at the Liceo turn out celebrated artists ?" I enquired.

"The first year of my attendance there," replied Rossini, was the last of Morlachi's, and my third year was Donizetti's first." "I thought that Donizetti was a pupil of Simon Mair," said I. "Donizetti certainly made some attempts under him," replied Rossini, "but received his musical education, properly so-called, in Bologna. That he learned something worth learning, no one will deny."

"That is very certain," I answered, "but you must tell me something more about your early youth."

"On some other occasion, caro Ferdinando," replied Rossini; "there comes my wife, it is dinner-time. After dinner we will smoke a cigar together."

(To be continued.)

ORGAN.

NEW ORGAN FOR EPSOM CHURCH.

THIS instrument, lately completed by Mr. Walker, was publicly exhibited at his manufactory the week before last, when Mr. James Coward displayed its capabilities to great advantage. The organ has three rows of keys and twenty-five stops, is made in Mr. Walker's usual substantial style of workmanship, and is remarkably good in general quality of tone.

NEW ORGAN FOR ST. PAUL'S CATHEDRAL.

From the number of letters on the subject, containing plans of all sorts and sizes, we continue to receive, there appears to be a strong impression that a new organ for St. Paul's Cathedral is not only wanted, but actually in present contemplation. We printed one of these plans, some time since, for curiosity's sake; but think it unnecessary, in the present hypothetical state of the case, to give publicity to any others.

There can be no doubt that a new organ is wanted in St. Paul's Cathedral-not that the present instrument is bad of its kind, but that the kind is bad. As we stated with regard to the Foundling organ, the whole style of the instrument is worn out, and by the sheer growth of better ideas on the subject, become unequal to the requirements of modern performers and modern music. Even for the accompaniment of the Cathedral service, it is far from complete, and, therefore, as far from efficient. But the metropolitan cathedral is, at least twice a-year, devoted to purposes which render it quite an exceptional case. The Festival of the Sons of the Clergy, and the united gathering of the London charity schools, are annually held within its walls. As the formerly customary orchestra has been dispensed with, the present organ affords but an indifferent means of accompaniment even in the first case; while, in the second, it is all but absolutely useless. What becomes of Father Smith's "unrivalled diapasons," ," and the "sweet cathedral quality of tone" that used to be so knowingly prattled about, in the presence of those eight thousand voices roused to the utmost pitch of exertion in the Old Hundredth Psalm? Let any one answer who has heard and marked the effect. A far off rumbling marks the presence of Bishop's pedal-pipes, and a dim, hoarse, and half-smothered undulation of tone tells one that something in the likeness of an

consequence there is much probability that, ere long, efforts will be made either to replace the present instrument with a new one, or so extensively to alter and enlarge it as to adapt it to any conceivable necessities of its position, it may not be uninteresting to state, briefly, the course we should recommend with regard to it. In the first place we should object to the total removal of the present in favour of a new organ. It is not absolutely necessary, would involve an amount of expenditure that might alarm the Dean and Chapter, and would throw away some of the best work Father Smith ever did, and which, not less for its own sake, than as a matter of curiosity, is amply worth preserving. Our plan would be to retain the whole of the present great organ, except the reeds-which are vile and fit only for condemnation to the melting-pot. With this exception, the great organ, containing, as it does, some admirable points of quality, would form an unexceptionable nucleus, or adjunct, rather, to a second and new great organ, which, besides, by its possession of a bourdon and open petal of sixteen feet, a quint, harmonic flutes, new mixtures, and modern reeds of sixteen, eight, and four feet, supplying the deficiencies of the original great manual, would, in virtue of its other and general contents, impart an immense accession of breadth and power. The present choir organ might be retained, with some additions; but the swell must be entirely new, of CC compass, first-rate magnitude, and replete with all the devices which modern skill has devised for this department of an organ. And lastly, a new pedal organ, of at least twelve stops, is indispensable; and in this the present set of largescaled sixteen feet pipes might either be retained as the wood unison, or, better still, they might be converted into a portion of the thirty-two feet double by lengthening the present CCC into GGG, for which its scale would perhaps be found very suitable. It becomes now a question how these additions could be disposed of as to space. All enlargement of the present case would, doubtless, be resisted as an infringement of the already limited vista in the building. Something might be gained in this way by deepening the case from east to west as, in this direction, enlargement would interfere with no architectural delicacy; but, beyond this, certainly nothing would be conceded. By proper management, however, the interior of the screen, on which the organ stands, could be made to accommodate, with abundant convenience, all the suggested additions, together with the extra bellow's-surface they would, of course, necessitate. We have have here given the merest outline sketch of the principles on which we should recommend the improvements at St. Paul's to be undertaken, and shall be happy to further the project, at any future period, by all means in our power.

MAYENCE. (From a Correspondent.)-On the 26th of October, Meyerbeer's Huguenots was produced at the Stadttheater, for the purpose of giving Herr Carl Formes an opportunity of appearing in his celebrated character of Marcel. The great basso was in his best voice, and created an immense sensation, being A Miss Bywater, an Engrepeatedly called before the curtain. lish lady, was the Valentine, and was much admired, both for her singing and acting. The opera generally was well sustained.

ADVERTISEMENTS.

SISAL CICARS

T GOODRICH'S CIGAR, TOBACCO, and SNUFF

roar. But for anything like yielding a support, or adding any proportionate weight of harmony, to that great mass of unisonous plain-song, Father Smith's organ is utterly useless. So far so, indeed, that were it not for the orchestral drums and trumpets which custom has long since introduced to enforce and decide the rhythm, all sense of time would soon be lost among that vast choir, and confusion and discord take its place, the conductor and his baton notwithstanding.

As these defects have lately been pretty generally felt, and in

Box, containing 14 fine Sisal Cigars, for 1s. 9d., post free, 27 stamps. None are genuine unless signed "H. N. Goodrich."-A large stock of the most approved Brands.

ROYAL ITALIAN OPERA,

COVENT GARDEN.

M. JULLIEN'S CONCERTS

TO-MORROW-MONDAY.

PUT

Music and Musical Instruments, copyrights, &c. OUTTICK AND SIMPSON, Auctioneers of Literary Property, will sell by Auction at their Great Room, 191, Piccadilly, early in November, a valuable collection of Classical Music, splendid copies of Arnold's and Boyce's Cathedral Music, Arnold's Händel, etc. The copyrights of some recently published and very popular works, and numerous valuable instruments of all kinds. ** Music sales are held monthly during the season, for which occasions large or small consignments can be received. Other kinds of literary property or works of art introduced in appropriate sales.

DER

ER FREISCHUTZ, 12s. 6d.; Zauberfl te, 12s. 6d. ; Fidelio, 158.; Faust, 12s. 6d. Each opera is complete, with English and German words, and the whole of the music transcribed from the score. In handsome cloth volumes. Also, splendidly bound in half morocco, gilt, 48. each extra. Standard lyric drama edition. Boosey and Sons, 28, Holles-street.

VER
ERDI'S IL TROVATORE.-Boosey & Sons have

published the following cheap and attractive editions of Il Trovatore, the copyright of which was assigned to them by the composer. The entire opera,

SERIES of CONCERTS will commence

To-morrow, MONDAY, November 5th, 1855.

It is indeed most gratifying to M. Jullien to find that the popularity of his Annual Entertainment has so much increased from year to year, that the greatest difficulty with which he has had to contend, has been that of providing sufficient space for the proper accommodation of his Visitors; with a view to the accomplishment of this object, he has made arrangements with the Directors of the Royal Italian Opera for the occupation of their Theatre for a short period, and has now great pleasure in being able to state that his Concerts will next week take place at that splendid establishment. The vast area of the above Theatre, one of the largest in the world, together with the accommodation of the Private Boxes, renders it eminently adapted for M. Jullien's entertainments; but, in order to make it still more convenient, and to accommodate a large portion of visitors who do not always require private boxes, he has caused to be erected an entirely new Dress Circle, containing reserved seats, which may be secured, and will be reserved during the whole evening.

During the interval which has elapsed since his last concerts, M. Jullien has neglected no opportunity of improving his orchestra, but has endeavoured to add to its efficiency both in the selection of its individual members as well as in its general construction. The wind instruments of wood will be doubled, there being two principal and two second Flutes, two principal and two second Clarinets, two principal and two second Oboes, and two principal and two second Bassoons, thus correcting that balance of sound which has been greatly injured by the universal practice, both in England and on the Continent, of making large additions to the stringed, without a corresponding increase in the wind instruments.

M Jullien has also established orchestral classes of instruction for the different instruments, and will have honour of introducing some

The same for pianoforte, four hands, Ss. in cloth, all the most popular songs (transposed), price 1s. each, and the whole of the vocal music in the original keys, with recitatives, &c., at the usual prices. Boosey and Sons, 28, Holles-street.

MOZART'S DON Students have now an opportunity of acquiring an

JUAN, FIGARO, AND ZAU

intimate acquaintance with the beauties of Mozart's masterpieces, by the possession of Messrs. Boosey and Sons' elaborate and cheap editions of these operas. Each opera is published for the voice (the words in two languages) with pianoforte accompaniment, which has been transcribed from the original score by W. 8. Rockstro. Notes of the instrumentation are appended, affording a clue to all the composer's intentions and effects. The English versions, as performed at Drury Lane Theatre, are by J. W. Mould. Stage directions, a separate libretto, and an interesting historical and critical account are prefixed to each opera. The three volumes, which should form part of every musician's library, are handsomely bound in green ornamented cloth at the following prices: Figaro, 16s,; Don Juan, 18s.; Zauberflote, 12s. 6d. Boosey and Sons, 28, Holles-street.

ADOLPH GOLLMICK.- The Midnight Galop," for

the pianoforte, is just published, price 2s. 6d. ; and as a Duet, 38. A third edition of M. Gollmick's Europa Galop de Concert, price 2s.; and asimilar edition of his Electric Galop, price 28. Boosey and Sons, 28, Holles-street.

as well as in the general orchestra.

In order to add to this year's concerts every possible attraction, M. Jullien has engaged that celebrated Prima Donna,

MADAME GASSIER,

whose success in Spain, Italy, and lately in Paris and England, has been almost

Ꭱ

ceau brillant, founded on the sixth air of De Beriot. Price 2s. 6d.

UDOLF NORDMANN. In the press. La mia Letizia, (Lombardi), for the pianoforte. Price 2s. 6d.

UDOLF NORDMANN. Just published. Ah, che la
Morte (Trovatore), for the pianoforte. Price 2s. 6d.
Boosey and Sons, 28, Holles-street.

night.

The Theatre will be fitted with an entirely new decoration, and the whole carpetted and warmed.

In the Reading Room will be found Newspapers and Periodicals from almost all parts of the world.

The Refreshments will be provided by Mr. G. Payne, and be of the best quality and at the most moderate prices.

The Concerts on each evening will commence at eight, and terminate about eleven.

Prices of admission: Promenade, 1s.; Dress Circle, 2s. 6d. ; Private Boxes, 12s., 1 ls, and 1 11s. 6d.

Places and private boxes may be secured on application to Mr. O'Reilly, at the Box-office of the Theatre, and of the principal Librarians and Music-sellers.

N.B.-The Theatro being let at Christmas for dramatic performances, the Concerts can continue for five weeks only.

TANDARD LYRIC DRAMA, bound in half morocco, to imitate whole morocco. The twelve volumes may be had very splendidly bound in half green, or crimson morocco, gilt edges and letters, price 4s, each extra. Single volumes will be bound at 58. each if forwarded to the publishers.— Boosey and Sons, 28, Holles-street.

MADAME OURY'S NEW PIANOFORTE MUSIC.

La Gassier Valse, 2s.; Mazurka Brillante, 4s.; Partant pour la Syrie, 3s.; Le Reve du Passé (The Dream of the Past) Romance, 4s.; Rigoletto, grand fantaisie, 43.; Minuet and Trio, from Mozart's Symphony in E Flat, 3s.; Le Bijon Perdu, 38.-Boosey and Sons, 28, Holles-street.

Published by JoHN BOOSEY, of 27, Notting Hill-square, in the parish of Kensington, at the office of BOOSEY & SONS, 28, Holles-street. Sold also by REED, 15, Johnstreet, Great Portland-street; ALLEN, Warwick-lane; VICKERS, Holywell-street; KEITH, PROWSE, & Co, 48, Cheapside; G. SCHEURMANN, 86, Newgate-street; HARRY MAY, 11, Holborn-bars. Agents for Scotland, PATERSON & Soss Edinburgh; for Ireland, H. BUSSELL, Dublin; and all Music-sellers.

Printed by WILLIAM SPENCER JOHNSON, "Nassau Steam Press," 60, St. Martin'slane, in the Parish of St. Martin-in-the-Fields, in the County of Middlesex.— Saturday, November 3, 1855.

To

person (about thirty) to take a permanent situation in a provincial town as tuner. Good salary. Address C. L., care of Boosey and Sons, 28, Holles-street.

PIANOFORTE PLAYERS.-Six novel and very plea-ing Morceaux for the Pianoforte, founded on the celebrated Volkslieder seven pages in length. In 6 Nos., price 23 61. each, six German Volkslieder, transcribed for the Pianoforte by Adolph Gollmick. 1. Teue Liebe (True Love). 2. Wanderlied 4. Rheinweinlied (Parting Song). 3. Liebe und Glück (Love and Happiness). Rhine Song). 5. Aennchen von Tharau (Serenade). 6. Der gute Kamerad (the Faithful Friend).

Published this day.

Regent-street. Applications for admission into the classes for orchestral instruments received every Thursday until further notice. Full particulars of the laws and rules will be shortly advertised.

WORCESTER CATHEDRAL CHOIR.-A Vacancy

having occurred in the Bass Department of the above, a Trial of Candidates will take place in the CATHEDRAL, on MONDAY, the 26th inst., at one o'clock. sible to the Rev. T. L. Wheeler, Precentor, Nov. 6, 1855.

LES

Pianoforte, price 38. Band parts, 58.

ES HUGUENOTS QUADRILLE, by Henri Laurent. Pianoforte, price 3s. Band parts, 58.

Boosey and Sons, 28, Holles-street.

SHAFTESBURY HALL, 36, Aldersgate Street.

A LECTURE on the Rise and Progress of Music from the Earliest Ages to the Present Time, will be delivered at the above Hall, by J H. LEE, Esq., on TUESDAY EVENING, Noveinber 13th; with Vocal Illustrations of the various Musical Nations on the Continent of Europe, by Mrs. Gilbert, Miss Cole, Mr. Fielding, Mr. Seymour, and Mr. Lee. Tickets, 6d. each; Reserved Seats, 1s.; Children to Reserved Seats, Half-prico. To be had of the principal Music-sellers, and of Mr. Floyd, at the Hall. To commence at 8 o'clock precise y.

ATE

INSTRUCTION IN THE ART OF POETICAL ELOCUTION, as adapted to the several purpose of Speaking, Reading, and Singing, by the Rev. Hugh Hutton, M A. Select C asses for the study of the elder English Poets, and the practice of General Elocution.-Address -No. 2, Provost-road, Haverstock-hill

PRIVATE INSTRUCTION

ACH SOCIETY.-Conductor, Mr. W. Sterndale Bennett.

J. S. Bach take place, at the Hanover-square Rooms, every Tuesday evening, com. mencing at eight o'clock precisely.

12, Fulham-place, Maida-hill West.

CHARLES STEGGALL, Mus. Doc,

Hon. Sec.

LONDON SACRED HARMONIC SOCIETY, Exeter

Hall. The Oratorio Season will commence on Monday, Nov. 19th, with Händel's Messiah," preceded by "The Hymn of the Allied Armies," G. Linley, Principal vocalists-Mrs. Sunderland, Miss Dolby, Mrs. Wilbye Cooper, and Mr. Lawler; trumpet obligato, Mr. Harper; leader, Mr H. Blagrove; organist, Mr. J. Jolley; conductor, Mr. Surman (founder of the Exeter Hall Oratorios). The subscription to the Society is one, two, or three guineas per annum. Two tickets for each Subscription Concert. Single tickets (a limited number of which only can be issued to the public), ONE SHILLING, 2s. 6d., 3s. 6d.. 4s., and 7s. 6d.. to be had, by early application, of the principal Music-sellers, and at the Office of the Society. No. 9, Exeter Hall, where purchasers of tickets may obtain a copy of the "Messiah" complete for 3s. or 5s.

TRA RAVIS'S AMATEUR ORGANIST.-The high patronage and unprecedented success of this truly elegant work has caused ⚫several imitations. The musical public, are, therefore, most respectfully solicited to order 'I RAVIS'S AMATEUR ORGANIST, in three volumes, neatly bound, 188. each; or in 18 books, price 3s. each. In the press, and will be shortly published, Travis's Anthems for Amateur Organists. Leni Lee, 48, Albemarle-street.

stock a quantity of Concertos, Variations, Quartetts, Tris, Duets, and Methods for the Bassoon, by celebrated German composers. To be had at reduced prices. 28, Holles-street.

CLARIONET CONCERTOS, Sestetts, Sextuors, Quin

tetts, Quartetts, Trios, Duets, Solos, Instructors, &c. A large stock of German Music for the clarionet will be found at Messrs. Boosey's. To be sold on low terms.

HUMMEL'S CELEBRATED HAND EXERCISES.—

A third edition of this famous work for the pianoforte is now published, price 4s. It contains above 400 exercises, and all the scales. Boosey and Sons, 28, Holles-street.