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ment, £5. Mozart's Pianoforte Works, complete, seventeen books, £5. Weber's Pianoforte Works, complete, three vols, 2 10s. Forkel's General History of Music, two vols., 4to., plates, boards, 1 10s. Haydn's Violin Quartets.-Complete collection of Quartets, beautifully printed, four thick vols., boards, £5. Haydn's Symphonies in Full Score.-Nos. 1, 2, 3, price 38. each. Nos. 4, 5, 6, 48. each. New edition. Les Huguenots, in Full Score.-Splendid edition, strongly bound. Price £8. Les Huguenots, Orchestral Parts (printed) 9. Fidelio, in Full Score, price £3. Don Juan, in Full Score, price £3. St. Paul, in Full Score, price 4 4s. Orders from the country must be accompanied by a remittance. 28, Holles-street.

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

WORCESTER CATHEDRAL CHOIR-A Vacancy

Wo

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. Candidates are requested to forward their Testimonials as early as pos sible to the Rev. T. L. Wheeler, Precentor, Bromwich House, Worcester. Nov. 6, 1855.

High Holborn, near Chancery-lane; 9, Holborn-bars, City; 10, Fitzroy-terrace, New-road.

IMMEL'S TOILET VINEGAR is far superior to scent, and a powerful disinfectant for apartments and sick-rooms. Its numerous useful and sanitary properties render it an indispensable requisite in all families. Price 2s. 6d. and 5s.; sold by all Perfumers and Chemists, and by E. Rimmel, 39, Gerard-street, Soho, London.

*** Be sure to ask for "Rimmel's," as there are many counterfeits.

PIANOFORTES.-OETZMANN and PLUMB beg to in

form Music-sellers and Professors that in consequence of their having made great improvements in the manufacture of their instruments, substituting machinery for manual labour, and taking advantage of the new Patent Steam Drying processes, are enabled to offer to the Trade superior Pianofortes in Grands, Semi-Grands, and Cottages, in all variety of woods and designs, at considerably reduced prices. Illustrated Lists sent on application, or a visit to their Manufac tory will prove the great advantage secured. 56, Great Russell-street, Bloomsbury. Manufactory, Chenies-street, Tottenham-court-road. Alexander and Co.'s Har moniums at trade prices.

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the Aristocracy, and the Upper Classes. Rowlands' Macassar Oil is unversally in high repute for its remarkable virtues in nourishing, improving, and beautifying the human hair. Its operation in cases of baldness is peculiarly active; and in the growth of the beard, whiskers, mustachios, and eyebrows, it is also an unfailing stimulant. For children it is especially recommended, as forming the basis of a beautiful head of hair.-Price 38. 6d., 78., 10s. 6d. (equal to four small), and 21s. per bottle.-ROWLANDS' KALYDOR, an Oriental botanical preparation, for improving and beautifying the complexion, eradicating all cutaneous defects and discolourations, and rendering the skin soft, fair, and blooming. It obviates all the effects of climate on the skin, whether with reference to cold and incleniency, or intense solar heat.-Price 48. 6d. and 8s. 6d. per bottle-ROW. Herbal, of inestimable value in preserving and beautifying the Teeth, strengthening the Gumus, and in rendering the Breath sweet and pure.-Price 28. 9d. per box. Sold by A. ROWLAND and SONS, 20, Hatton Garden, London, and by Chemists and Perfumers.

by Brandard, price 4s. Laurent's Galop des Guides (second edition, 2s. 6d. Laurent's Valse du Carnaval (second edition), 38. Laurent's Vilikin's Waltz (sixth edition), 3s. Band parts, 5s. each. Boosey and Sons, 28, Holles-street

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VOL. 33.-No. 47.

ISS BLANCHE CAPILL-(Voice, Contralto), where letters respecting pupils or engagements may be addressed.

TO ORGANISTS.-Wanted, an Organist, at Staindrop Church, county Durham. The salary is £45 per annum. Candidates are requested to send testimonials of character and ability, addressed to the Rev. H. C. Lipscomb, Vicarage, Staindrop, Darlington. The organist of this church will be required to teach the choir regularly during each week. An organist who can also tune pianos well, will be preferred.-November 19th, 1855.

CATHEDRAL AND COUNTRY ORGANISTS.score, and with pianoforte or organ accompaniments by Bach, Beethoven, Haydn, F. and M. Eybber, Mozart, Mendelssohn, Hummel, etc., to be disposed of at greatly reduced prices. Catalogues gratis, of Boosey and Sons, 28, Holles-street, London.

AMATEUR MUSICAL SOCIETY. The Members are

hereby informed that the First Concert of the Society will take place at the Hanover-square Rooms on Monday, the 3rd of December, at half-past eight o'clock precisely. The rehearsal will be held on Friday, November the 30th, at seven for half-past precisely. The tickets are now ready for delivery at Robert W. Ollivier's Musical Repository, 19, Old Bond-street.-Henry Leslie, Hon. Sec.

POSITIVELY THE LAST WEEK BUT TWO

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SIXTH SEASON.-The First Meeting on Wednesday Evening next. *Barnett's Opera, "THE MOUNTAIN SYLPH." Prospectuses, with terms, of the Director, Charles Salaman, 36, Baker-street, Portman-square.

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Music will take place at the above Hall, on Monday evening, November 26th. To commence at Eight o'olock precisely. Vocalist, Miss Dolby; Violin, Mr. T. Banister; Violoncello, Mr. Lucas; Pianoforte, Mr. W. Sterndale Bennett and Mr. Henry C. Banister. Ticke's. 1s.; Reserved Seats (Dress), 38.; Family Tickets, to admit four to the Reserved Scats, 10s. 6d. Tickets may be obtained of Mr. Henry C. Banister, 28, Woburn-place, Russell-square: of Messrs. Leader and Cock, 68, New Bond-street; and at St. Martin's Hall.

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NEW PUBLICATIONS.

D'ALBERT'S ALBUM FOR 1856.
Just published, price 18s.,

EXQUISITELY ILLUSTRATED, AND BOUND IN WATERED SILK. This Album is confidently announced as the most attractive Musical Annual ever published, and as far superior to any of its predecessors. It contains a great variety of entirely New Music, by

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NEW SETS OF ORCHESTRAL PARTS OF D'ALBERT'S POPULAR WORKS,

Price 58. each.

No. 71. The Lucrezia Borgia Quadrille.
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UST PUBLISHED.-FANTASIA on the celebrated Jacobite Song, "Will ye no' come back again?" for the Pianoforte. by T. W. Naumann, price 2s. 6d., free by Post. This piece is admirably adapted for Schools and Teachers. London: Chappell, 50, New Bond Street. Edinburgh: Paterson and Sons.

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THE ROYAL MIDLOTHIAN YEOMANRY CAcomposer of the Queen's Polka. Beautifully illustrated in colours. London: Chappell, New Bond-street. Edinburgh: Paterson and Sons.

Exquisitely illustrated with a View of Paris during the Fêtes, 38. THE SARDINIAN POLKA,

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CHAPPELL, 50, NEW BOND STREET.

"I do not think that Haydn has been surpassed by any composer whatever, not even by Beethoven, in quartets for stringed instruments," I replied.

"These quartets are charming productions," said the maestro, with warmth; "what a lovely connection of the various instruments with one another! and what delicacy in the modulations! All considerable composers present us with fine transitions from one key to another, but those of Haydn had always a peculiar and especial charm for me!"

"Did you ever enjoy an opportunity of hearing these compositions in Italy?" I enquired.

"Yes, in Bologna, when I was a boy," replied Rossini. "I got up a quartet for stringed instruments, in which I played, to the best of my ability, the viol. The first violin had, at first, only a few of Haydn's works, but I was always at him to send for others, and thus, gradually, I became acquainted with a tolerable number of them. At that period, I had a great partiality for studying Haydn. You should have been present when I directed the Creation in the Liceo at Bologna-I really did not let the executants miss a single point, for I knew every note by heart. I also superintended the production of the Seasons, when, after leaving the Liceo, I was appointed Director of the Philharmonic Concerts."

"The Seasons is, perhaps, richer in fancy than the Creation," said I, "but then the text afforded greater scope for variety.' "That may be," replied Rossini, "but there is a certain elevated feeling pervading the Creation, which causes me to prefer it. How magnificent is this air-and the chorus in Band Raphael's air," (here the maestro sang the beginning of the above pieces) "and what a wonderful instrumental composition is the 'Chaos'! Nothing strikes deeper root than the impressions of one's early youth. At Vienna, I was acquainted with an Italian of the name of Calpani, who, having been settled there for many years, had been a very frequent visitor at Haydn's. He was never tired of talking to me about the kind heart, mildness, and modesty of the old master."

"He was most just towards others," said I, "and informed Mozart's father, in the simplest terms, that he looked upon the latter's son as the greatest of all composers."

"He certainly thought so, too, and with reason," exclaimed

the maestro.

"I never met with any of his operas-it would seem, strangely enough, that there was not much in them," I continued.

I read them through in Vienna, at the house of a passionate admirer of Haydn, who boasted of possessing all his compositions," said Rossini. "They are inconsiderable works, with scarcely a few traits, here and there, to remind one of the great composer. I believe he wrote them at an early period, to oblige Prince Esterhazy and his singers. Do you know his cantata, Ariadne ?"

"I played it through a long time ago," said I. "I like it best of all Haydn's vocal compositions."

"The adagio is especially fine," said Rossini, and he began singing a part of it.

Really, you are better acquainted with our German masters than I am," I exclaimed ;" and I am beginning to be jealous of you. Are you as well acquainted with your Italian decessors ?"

pre

"I have read through a great many," replied Rossini. "Have you heard many of Paisiello's operas?" I enquired. Even when I was a youth, they had nearly altogether disappeared from the theatres of Italy. Generali, Fioravanti, Paer, and, above all, Simon Mair, were the order of the day."

* Translated expressly for The Musical World.

"Do you like Paisiello ?" I enquired. "His music floats agreeably past the ear," replied Rossini, "but is not remarkable either in a harmonic or melodic point of view, and never particularly interested me. His principle consisted in composing a whole piece on a small motive-a plan productive of but little animation, and, especially, little dramatic expression."

"You knew him personally, did you not ?" I enquired.

"I saw him in Naples," replied Rossini, "after his return from Paris, where he had amassed some little money. Napoleon was fond of his music, and Paisiello used to boast of this in a somewhat naïve fashion, by informing every one that the great Emperor was particularly partial to his music, because it did not prevent his thinking of other things while listening to it. A peculiar species of praise, certainly! Nevertheless his soft music was preferred in its time-every epoch has its own taste." "Was Paisiello an interesting individual?" I asked. "His outward appearance was handsome, vigorous, and almost imposing, but he was horribly uneducated, and insignificant beyond measure. You should have read one of his letters! I do not speak of the hand-writing or of the orthography-I will pass over them-but the awkwardness of the expressions and the vapidness of the thoughts were something that defied all description! Cimarosa, now, was a very different personfine, cultivated mind. Do you know anything of his ?"

"Il Matrimonio Segreto, of course," I replied; "I have also read Gli Horatii."

"There is not so much in the last," replied Rossini, “but, on the other hand, there is an opera buffa, Le Trame deluse, of his, which is most admirable."

"Better than Il Matrimonio Segreto ?" said I.

"It is a work of incomparably greater importance," answered Rossini. "There is a finale for the second act (it is almost too great for a last finale)-a perfect masterpiece. Unfortunately, the libretto is wretchedly bad. I remember, also, an air out of his oratorio of Isaaco, in which, more especially, there is a passage that is very striking and dramatic in a harmonic point of view. It is a pure piece of inspiration, for, as you know, he was generally, no great hand at harmony."

"It is a very difficult task for us to procure the works of these composers," said I. "To do so, we ought to spend a year in Italy on purpose. The Library of the Conservatory in Naples particularly, must contain extraordinary treasures of this kind." "It does contain astonishing stores," replied Rossini, “ and all Cimarosa's manuscripts must be among them. These manuscripts were formerly in the possession of Cardinal Gonsalvi, who entertained a perfect passion for Cimarosa. You could not do him a greater favour than to sing him the compositions of his favourite. I often did so during my stay in Rome, and he was truly grateful to me for it."

And your own manuscripts, maestro;" said I; "I do not think you possess many of them."

"Not a note," replied Rossini,

Where, in the name of goodness, are they, then?" said L "Heaven knows! I had the right," continued Rossini, "of but I never availed myself of it. Some may be in Naples, and demanding them from the copyist, at the expiration of a year,

some are in Paris-the fate of the rest is unknown to me." "Have you not, at least, preserved your exercises when under Padre Mattei ?" I enquired.

"They were in my possession for a number of years-bat when I returned, one fine day, to Bologna, they were no longer to be found. Whether they were thrown away, stolen, or sold as waste paper, I do not know," answered Rossini.

Perhaps, you have not even the engraved scores and pianoforte editions of your operas, maestro," said I, laughingly. "What good would they be?" said Rossini. No music has been played in my house for years. Or, would you have me study them, perhaps?"

informs us, you preserved mysteriously, to bequeath to posterity— "And your opera Ermione, which, one of your biographers what has become of that ?" I asked.

"It is with the others," replied Rossini.

"You once told me something about this opera," I continued.

"You said you had treated it too dramatically, and that it was

damned."

"And, in truth, with reason," said Rossini, good humouredly; "it was very tedious.”

"Did it not contain, then, any of the airs, any of the finales, or other points, by which you were wont to intoxicate people?"

"You are very good," answered the maestro, ironically, "but there was really nothing in it; it was all recitative and declamation. I wrote a cavatina in it for David, as the poor fellow must have something or other to sing. This, though, became known, and you probably are acquainted with it. It began thus," continued the maestro, humming the principal motive.

66

"Í have often heard it, but without being aware it was taken from the opera in question," I replied. "But there is General Monet coming towards you-let us ask him to give us a few explanations with reference to the last telegraphic despatch." "So we will," said Rossini. "It is a curious kind of music they are playing out there-strongly instrumented! But when shall we have the Finale ?"

(To be continued.)

OPERA AND DRAMA.

BY RICHARD WAGNER.

(Continued from page 737.)

CHAPTER III.

OUR attention has already been directed, by the accentuated spoken verse, so nearly to the sustained tone in singing, that we must consider more attentively the subject lying at the bottom of it. If we continue to bear in mind the one fact, that the poetical intention is only to be realized by the perfect communication of it, out of the understanding to the feelings, we have in this case, where the representation of the act of this realization, by means of the said communication, engrosses our attention, to investigate all the points of the expression in strict accordance with their capability of immediate manifestation to the senses, for the feelings alone receive impressions immediately through the senses. To this end, we had to reject from the verbal phrase everything which rendered it inexpressive for the feelings and a mere organ of the understanding; we hereby compressed its purport into one that was purely human, and conceivable by the feelings, and endowed it with an equally compressed verbal form of expression, by raising the necessary accents of the excited discourse, through close approximation to each other, to a rhythm that involuntarily captivated the ear, especially by the repetition of the series of accents.

Now the accents of the phrase thus determined cannot do otherwise than fall upon parts of speech in which the purely human purport, conceivable by the feelings, is most distinctly expressed; they will, consequently, always fall upon those significative roots of the language, in which not only a definite object, conceivable by the feelings, but, also, the sensation corresponding to the impression produced upon us by the object in question, was formerly expressed by us.

Until we are able to experience back, as it were, to their primitive truth, our state-political or religious-dogmatical sensations, transformed into the most perfect self-unintelligibility, we are not competent to grasp the sensuous purport of our verbal roots. What scientific investigation has unfolded to us regarding them can only prove instructive to the understanding, but not determine the feelings to the comprehension of them, and no scientific instruction, however popularly it might be introduced even into our national schools, would be able to awake this intelligence of language, which can only come to us through an undimmed and loving intercourse with Nature, from an imperative want of a purely human comprehension of her, or, in a word, from a necessity, such as the poet experiences, when impelled to communicate with convincing certainty to the feelings. Science has unveiled to us the organisation of language; but what she showed us was an extinct organisation, which only the greatest poetical necessity was capable of re-animating, and that

by again binding up the wounds, which the dissecting knife had made, in the body of the language, and breathing into it breath, animating it to self-motion. This breath was-Music.

The poet, yearning after redemption, now stands in the wintry frost of language, and gazes longingly over the pragmatically prosaical wastes of snow, by which the once so luxuriantly brilliant plains, the fair face of lovely Mother Earth, is covered. Before his painfully warm breath, wherever it happens to pass, here and there, the hard snow however melts, and, behold! out of the bosom of the earth sprout forth green germs, springing, new and luxuriant, from the old roots, that were supposed to be dead-until the warm sun of the new spring of mankind, which never grows old, rises up, and dissolves all the snow, while the gay flowers burst forth from the germs, and joyously greet the sun with smiling eye.

There must be a continually new creative power in these old primitive roots, just as in the roots of plants and trees-as long as they are able to keep their place in the real soil, as long as they have not been torn out of the soil of the people itself. The people, however, preserves, under the frosty covering of snow, its civilisation, in the involuntariness of its verbal expression, the roots, through which it is itself united with the soil of nature, and every one turns to the involuntary intelligence of them, an intelligence that leaves the confession of our state verbal intercourse for a loving contemplation of nature, and thus unlocks these roots to the feelings, by an unconscious use of the qualities related to them. The poet, however, is the man who is acquainted with the unconscious element, the intentional representer of the involuntary; the feeling he wishes to convey to the feelings teaches him the expression he must employ; but it is his understanding which shows him the necessity of this expression. If the poet, who thus speaks, out of Consciousness to Unconsciousness, wishes to account to himself for the natural constraint, wherefore he must employ this expression and no other, he learns the nature of it, and in his impulse to communicate it, gains out of this nature the power of ruling the expression as a necessary self. If he now searches for the nature of the word, forced upon him, by the feelings, as the only expressive one for any object, or sensation created by the latter, he recognises the compelling power in the root of the word, invented or discovered, out of the necessity of the most primitive constraint of human sensation. If he dives deeper into the organisation of this root, in order to become acquainted with the power thus constraining the feelings, and which must be peculiar to the root, because, out of the latter, it produces so definite an impression upon his feelings-he, at last, perceives the source of the power in the purely sensuous body of the root, the most primitive substance of which is the vocalic sound.* This vocalic sound is the incorporated inward feeling, which obtains its incorporating substance at the moment of its manifestation to without, and, moreover, obtains it in the same way, as it manifests itself-according to the peculiarity of the emotion-in the vocalic sound of the root. In this utterance of the inward feeling lies, also, the compelling motive of its effect produced by exciting the corresponding inward feeling of the other beings whom this utterance reaches; and if the poet wishes to exert upon others this constraint of the feelings, as he himself experienced it, he can only do so by the most perfect copiousness in the utterance of the vocalic sound, in which alone the peculiar inward feeling can be conveyed in the most exhausting and convincing manner.

This vocalic sound, which, with the fullest manifestation of the copiousness contained in it, becomes of itself a musical tone, is, however, determined, for the especial peculiarity of its mani festation in the verbal root, by means of the consonants, which fix it, from a point of general expression, as a particular expression of any one object, or any one sensation. The consonant thus exerts two principal actions, which, on account of their most decided importance, we must examine nearly.

The first action of the consonant consists in its raising the vocalic sound of the root to definite character, by limiting

Tönender Laut.-TRANSLATOR.