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NOTICE.

ADVERTISEMENTS.—It is necessary to inform advertisers that we cannot undertake to extract advertisements ourselves, for insertion, from other papers. Whatever advertisements are intended for the MUSICAL WORLD must be sent to the Office by the proper authorities or their agents. This will render all mistakes impossible for the future.

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. NEW ORGAN FOR MAGDALEN COLLEGE, OXFORD.-A description of this instrument will appear in our next.

TO CORRESPONDENTS.

MUSICA.-" Our own Correspondent” is already in existence ! AMATEUR.—There is no complete edition of Dussek published in England, and some of his best concertos and sonatas are out of print. We believe the concerto in G minor can be obtained at Chappell's, in Bond-street.

G. S.-Decidedly (in our opinion) Dwight's Journal of Music, which is published at Boston. C. B. (Doncaster.)-The request of our correspondent shall be attended to. There was no necessity, however, for the apprehensions he confesses to with such eminent good nature.

THE MUSICAL WORLD.

LONDON, SATURDAY, FEBRUARY 10TH, 1855.

Now that the period of Richard Wagner's arrival approaches, it is well for Philharmonic subscribers to make themselves thoroughly acquainted with his art-doctrine, in order that they may easier comprehend his hidden meanings, and appreciate the subtler beauties of his compositions. We shall aid them to the best of our ability, by expounding, on fit occasions, whatever we have the wit to fathom. Our "line," however, not being interminable, there are likely to be many soundings too deep for us to "make"-like Bottom's dream, in Shakspere, so called because it had " no bottom." In such cases we shall appeal to those, who, having engaged Herr Wagner as Conductor of the Philharmonic Concerts, must be well versed in his philosophy, and steeped by anticipation in the "music of the future." Just now, perusing the fourth "Reactionary Letter" of Herr Sobolewski, we stumbled on a rock a-head. In alluding to the revival of Sophocles' Antigone, with music composed by Mendelssohn at the instigation of His Majesty King Clicquot, Richard, sneering as usual, is more than usually obscure. "How charmed," he says, "were the erudite old boys with this Antigone at the Royal Potsdam Theatre!" The sneer is intelligible; but

the context is mysterious. Let Wagner speak himself, in diction that would bother Mr. Oxenford, and set Mr. Carlyle speculating on the confusion that proceeded from the overthrow of Babel by Divine interposition.

"Sie liessen aus der Höhe sich die Rosen streuen, die die erlösende

Engelschaar "Faust's" als Liebesflammen auf den beschwänzten Dickund Dünnteufel vom kurzen geraden und langen krummen Horn herabflattern lässt; leider erweckten sie ihnen aber das widerliche Gelüste, Das ewig Weibliche zog sie nicht hinan sondern das ewig Weibische das Mephistopheles unter ihrem Brennen empfand-nicht Liebe! brachte sie vollends nur herunter. Heilige Antigone! dich rufe ich nun an! lass deine Fahne wehen, dass wir unter ihr vernichten und erlösen !"

The italicised words are quoted from Goethe's Faust. Now we humbly address ourselves to Mr. Anderson (who went to Zurich and ministered to Richard); we humbly address ourselves to that gentleman, and his brother direc tors of the Philharmonic, for an explanation of the above. What is it about?-to what does it refer?-how does it affect Antigone?-wherein does it influence the "music of would somehow appear to have offended?—what? how? the future," which the union of Sophocles and Mendelssohn lation of our learned contributor. He, failing, doubtless, to wherein? why? It was no use consulting the free transapprehend Herr Wagner's meaning, turned the whole into sentences so smooth that the reader might glide over themsentences, nevertheless, which, while extremely fair and specious, were by no means transparent. His dignity of course would not allow him to lay the passage before the editor of the Musical World, with a protest that it was untranslatable -even by himself, who had come safely out of the swamps of Abbé Vogler's theory of chords. His dignity as a polyglot in diaphanous vernacular, calculating, that by this means, it would not allow of that. So he softly wrapped it up would escape editorial notice. Thus far he succeeded, since both not displeased to have got to the end of it, and little inclined editor and sub-editor "slid" over it, without a pause. Whether to venture back again, we cannot undertake to say; at all events they passed it "sans" inquiry "sans" remonstrance. Not so the reader for "literals," who asked the meaning, and could get no answer.

Since our last number was published, and the fourth "Reactionary" appeared, with Herr Wagner's apostrophe exhibited in the phraseology of "our own translator"-like Barnum's mermaid in the glass case-we have applied to at least a dozen linguists for an explanation of the passage. In vain. They shook their heads, looked grave, and said—“It means something, no doubt, but what it means you must discover for yourself." The astrologer who unravelled, as follows, the mystery of the pimple on the cheek of King

Cole

"A mole on the face,

Bodes something will take place,

But not what that something may be"was not a bit more vague in his interpretation than one and all of these verbose and windy illuminati, who, conversant with any known root of any given word, in any dead or living tongue, were at their wit's end to get at the end of the wit of Richard Wagner. Thus circumstanced, "our own translator" was requested to draw up a new translation, verbatim et literatim. He did so with an ill grace; and we now place it before Messrs. Anderson, Card, Clinton, M'Murdie, Chatterton, Lucas, and Sainton, for their consideration :—

'They let from above for themselves the roses be strewed, which the redeeming angel-band of Faust, as flames of love, on the betailed thick and thin devil, from the short straight and long crooked

horn, lets flutter down; unfortunately they aroused for them the repulsive feeling that Mephistopheles experienced while they were burning-not love! The ever-womanly attracted them not: but the ever-old-womanly completely brought them to the ground. Thee do I invoke, heavenly Antigone! Let your flag wave that we may destroy and redeem beneath it."

Will the directors of the Philharmonic Society, men of letters as well as notes, afford us, in their courtesy, a clue of some sort by which we may be able to untangle this complex web? If not, will they place it before their secretary, one of the most enthusiastic apostrophisers of the "music of the future?" Mr. Hogarth might reduce it into plain from occult sense, make it exoteric instead of esoteric, and have it printed on a circular, ready to deliver when subscribers call upon Mr. Addison, of Regent-street, for their tickets. Failing in this, there is but one resource-viz.: to apply to Dr. Liszt. At Weimar, engaged intently on a new book of Lohengrin, and ever anxious to hold a torch by which the gospel of St. Richard may be revealed, Dr. Liszt will readily proceed, not for the first time by many, to do for Wagner what Proclus did for Plato, Taylor for Aristotle, and St. Thomas Aquinas for the Immaculate Conception. ("Quare," etc., etc.) List!-list!-Oh Liszt! Enlighten our dulness, open our eyes—or lend us thy spectacles, that we may read the books, and not be lost to the future destinies of harmony, into which thou peerest, through a telescope as long as from Weimar to Leipsic. List!-list!-Oh Liszt! Come to our aid; or, if thou canst not come, send Pohl to save us! Remember that Richard is on the way. His shadow is before him on the rail, as far as Cöln. He will be here shortly, and then it may be too late. Send the books-the books-all the books! In them there may be hope.

AMATEUR MUSICAL SOCIETY.

THE first concert of this Society took place on Monday evening at the Hanover-square Rooms. There was a numerous and fashionable audience, in spite of the weather, so unpropitious to out-of-door entertainments; and the performance may be said to have inaugurated the ninth season auspiciously. We subjoin the programme, which was excellent, as will be seen:

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G. Fitzgerald, Messrs. Hughes, Lausseure, Sir W. C. Medlycott, Messrs. Morris, Paget (Lieut. Col. P.), A. Rougemont, J. Walmisley, and H. Chipp.-Contra-Bassi: Messrs. Conant, V. Morris, Rowden, Winsor, Mount, and F. Pratten.-Piccolo: Mr. Curtis.-Flutes: Messrs. Jekyll, and King.-Oboe: Messrs. Pollock, and Selby.-Clarionets: Messrs. Boosé, and Cutler.-Bassoons: Messrs. Baumann, and Snelling. -Horns: Messrs. C. Harper, Wetherall, Standen, and McDonnell,Cornet-à-pistons: Messrs. Tatham, and Burchett.-Trumpets: Messrs. Zeiss, and Massey.-Trombones: Whittaker, Keightley, and Winterbottom.-Drums: Mr. Goodwin.

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Thus, it will be observed, the number of professional assistants is greatly diminished-which, though a bad thing for the professors, is perhaps a good thing for the amateurs, who will be obliged to depend more on their own exertions, and attend practices accordingly. One of the reasons for curtailing the amount of professional aid was, that the professors were not, and, indeed, could not be (owing to their regular engagements) punctual at rehearsals; and this annoyed the conductors, and damaged the performances.

The test of Monday night was favourable; and Mr. Leslie came out well from the ordeal. The overture to Der Freischütz was famously played, and delighted the audience. The Symphony of Mendelssohn, except at the opening of the finale, which involved a bit of a scramble, was also highly satisfactory. There were no "selections," at which some grumbled, but for played Mozart's fine concerto with real feeling, and proved herwhich we were not sorry. Miss Poland, though very nervous, self worthy to be called a professor rather than an amateur. It was charming to find so young a lady selecting such admirable music, and understanding it so thoroughly. She was applauded with the greatest warmth, and very deservedly. Herr Pauer, who sat by her side, is, we presume, her master. She does him infinite credit-the more so since this, we believe, was her first appearance in public.

The vocal part songs, without accompaniments, excellently given by Herr Pauer's Society of Amateurs-the London Deutscher Männer Chor-about twenty voices in all, were well selected. That of Mendelssohn, however-"Der frohe Wandersmann"-was worth the rest all put together. The others "Nachtlied" (Reissiger), "Ständchen (Lachner), and "March" (Zöllner)-at the best trifles. The concert terminated effectively, with the sparkling and effective overture by Auber, which was played with great spirit.

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Mr. Leslie was warmly received, and proved himself worthy of the part he has undertaken. As the Daily News observes, aptly enough-" he is himself an amateur, but an amateur comme Mendelssohn & Reisseger. il y en a peu.”

Weber.

Mendelssohn,

Mozart.
Lachner & Zöllner.
Auber.

Conductor-Mr. Henry Leslie.

Since last year some important changes have taken place changes which we are bound to regard as improvements. The investment of the bâton in the hands of Mr. H. Leslie was a wise step on the part of the amateurs. Mr. Leslie is one of themselves; and the more they can do for themselves, without extrinsic aid, the better will they be considered. But beyond this, the new conductor, as all the world knows (that is, the musical world), is an able and conscientious musician. It is to be hoped, now, there will be no further alterations-since nothing is worse for the discipline of an orchestra, whether of amateurs or of artists. Other modifications have also been made. The list of the orchestra, as at present constituted, is as follows:

First Violins: Messrs. Ashton, Cazenove, D'Egville, Dendy, Dresden, Goodbody, Haythorne, Heath, St. Vincent Jervis, A. J. Leslie, Mendes, Pawle, Rougemont, Sparrow, the Rev. W. Wyndham, and H. Blagrove. -Second Violins: Messrs. Banbury," Burnand, A. Cohen, L. Cohen, Grainger, Holbrooke, Hughes, Ivimey, Manson, Colonel Moody, Plowden, Robertson, St. Aubyn, Sim, and W. Blagrove.-Violas: Messrs. Adye, H. Cazenove, Cooper, Forster, J. Foster, J. Leslie, Stephens, R. Blagrove, and Clementi.—Violoncelli : Messrs. Church, Dobree, Lord

MR. GEORGE CASE'S Annual Concert at Exeter Hall, is announced for April 11th.

DEATH OF MR. O. SMITH.-Richard John Smith, commonly called O. Smith, the talented and favourite actor, for many seasons a member of the Adelphi company, expired on Thursday week, after a long and painful illness, in the 69th year of his age. Mr. Smith was designated Obi Smith, from the fact of his having performed the principal character in the pantomime of Three Fingered Jack, many years ago, with remarkable success. The name was afterwards abbreviated to O. Smith. As an eccentric actor, in parts of a wild, unreal character, Mr. O. Smith had no equal in his day. His best performances were in Der Freischütz, in which his Zamiel was very great, and in the Bottle Imp, which was made memorable by his acting. In many other parts, also, too numerous to mention, he achieved a high reputation. His loss will be severely felt at the Adelphi Theatre, of which he was for many years so distinguished a

member.

SIGNOR BRIGNOLI, a young Italian singer of talent and promise, with an agreeable voice and a prepossessing appearance, has just been engaged as primo tenore for the new operatic speculation in New York. Signor Brignoli has already been favourably received at the concerts of the aristocracy in London, and has sung with success both at the Imperial Grand-Opéra and the Italian Theatre in Paris. He will be a decided acquisition for M. Max Maretzek.

MRS. FANNY KEMBLE AT EXETER HALL. THE art of reading or reciting a play well does not lie within the capacity of every actor. It requires superior mimetic powers, a varied knowledge of character, and a great command of the voice. These qualifications Mrs. Fanny Kemble possesses in an eminent degree. The faculty of recitation she appears to inherit from her father, the late Mr. Charles Kemble, perhaps the most accomplished Shaksperian reader that ever exhibited in public. Mrs. Fanny Kemble has obtained a reputation as a reader of the plays of the great dramatist hardly inferior to that of her father; if we mistake not, it was she who originated entertainments of this kind, in which she has been followed by other actors and actresses. As there are many people-in England, at leastwho go to a concert room to hear an oratorio, but who will not visit a theatre to listen to an opera, so there are numbers who, from motives we need not investigate, deny themselves the pleasure of seeing a play acted, and yet have no objection to hear one read. It is, we believe, on this account that the recital of Shakspere's plays in a public room has seldom failed to attract. Besides Mrs. Fanny Kemble-Miss Glyn, Mr. Wentworth Butler, Mr. Nicholls and others have given Shaksperian readings. We need scarcely say that Mrs. Fanny Kemble enjoys a higher name than any of these, and the announcement of Shakspere's Midsummer Night's Dream at Exeter Hall, in her name, could not fail to interest the public. To heighten the attraction, the whole of Mendelssohn's music was performed, under the direction of Mr. Benedict, by a powerful band and chorus; the entertainment, therefore, was of a superior kind, and was listened to throughout with pleasure.

No play of Shakspere is better adapted for recital than A Midsummer Night's Dream; that it was originally intended for the stage is open to question, on account of the greater part of it being written in rhyme. We venture a surmise that the last scene, where Puck enters and speaks the famous lines, beginning Now the hungry lion roars,

And the wolf behowls the moon

was an after-thought of the poet. In the previous scene, after the dance and the departure of the clown, Theseus addresses the remaining characters thus:

The iron tongue of midnight hath tolled twelve-
Lovers to bed, 'tis almost fairy time.

I fear we shall outsleep the coming morn,

As much as we this night have overwatch'd.

This palpable gross play hath well beguil'd

The heavy gait of night. Sweet friends, to bed.

A fortnight hold we this solemnity,

In nightly revels, and new jollity.

[Exeunt.

However, we do not insist; we merely throw out the hint for the consideration of Mr. Charles Knight in his next edition of the poet.

Mrs. Fanny Kemble's delivery of the dialogue and soliloquies on Monday night was characterised by fine taste and discrimination. To the love-passages of Theseus and Hippolita she imparted a dignity entirely in keeping with those regal personages. The tenderness and jealousies of the lovers, Lysander and Hermia, Demetrius and Helena, were varied with great felicity; the speeches of Oberon and Titania were effectively read; the quaint and luxuriant rhymes of Puck were uttered with vivacity; and the drolleries of Bottom, Quince, and Snug disclosed a fund of humour, occasionally dry, sententious, and slow, but always well studied and to the point. The accomplished lady was loudly applauded on several occasions during the recital, and at the conclusion received a hearty cheer from the audience.

Notwithstanding the beauty of Shakspere's dramatic poem, and the excellence of Mrs. Fanny Kemble's reading, the chief attraction was unquestionably centred in the music, which is altogether worthy of the poetry, and ranks among the most genuine inspirations of Mendelssohn's genius. Of the performance in general on Monday night, we can speak in terms of unqualified praise; the band was selected from the Royal Italian Opera and the Philharmonic Societies, the chorus was numerous and efficient, and Mr. Benedict was the conductor. Of course the special features were the overture, the scherzo, and the

wedding march, which were tumultuously applauded and the last encored. The impression created by the performance was so great as to induce Mr. Mitchell, the projector, to announce a repetition on Monday next.

DRAMATIC.

The

MARYLEBONE.-Leon of the Iron Mask is the title of a threeact drama, produced during the week at this establishment. From its intrinsic merits, the excellence of the acting, and the splendour of the scenery and dresses, it promises to prove unusually attractive. Mr. Bayle Bernard is the author, and his name is sufficient guarantee for the dramatic vigour of the writing, and the interest of the story. Many pieces have been of the "Man in the Iron Mask;" but Mr. Bernard, as far as we written both in French and English on the subject of the story are acquainted, has not followed any known version. popular supposition, that the Man in the Mask was the brother of Louis XIV., and heir to the throne of France, is assumed by the author; and the dénouement is happy, as in the case of one or two of the French dramas which are founded on the story. The acting of Mr. W. Wallack as the "Iron Mask" was exceedingly good. The part offers many different phases to the actor; but Mr. Wallack appeared to master all with instinctive tact. Of course Leon has a lover, and Hortense is a charming heroine, and is played in a highly impassioned manner by Mrs. W. Wallack. The character of Rochefort, an old Huguenot soldier, who is attached to the fortunes of Leon, and follows him everywhere, watching round him and protecting him from harm, is well sustained by Mr. Edgar, who is gaining ground with his public.

Leon of the Iron Mask has been played every evening during the week, and its attraction appears to increase with each successive representation.

ADELPHI.-A new drama in five divisions-two prologues and three acts-called Janet Pride, by Mr. Dion Boucicault, was produced at this theatre on Monday evening, with great success. Why the first two acts-to simple comprehensions they are nothing else-should be termed "prologues" is not readily understood. It is, we are aware, a custom of modern French dramatic writers-who, in as far as they are able, aim at the preservation of the unities to entitle the first act of a play, when separated by any term of years from the rest, a prologue." Nay, the intervention of a brief period of time between act first and second will sometimes entitle the former to the name. As a familiar example, we may instance the opera of Lucrezia Borgia, the first act of which has always been accepted as a prologue to the other two. Why, we could never satisfactorily make out, the more especially since the first act is as essentially embodied in the story as the second or third. But fashion, like instinct, is a great "matter;" and, as we copy the French in so many things, it is not unreasonable that we should follow them in the article of nomenclature, even when we cannot understand their application. The drama of Janet Pride, however, surpasses any French work we are acquainted with, in the fact of its having two prologues. An author, at a loss for novelty, may perhaps, ere long, venture upon three prologues, another upon four, and another upon five, until, at last, fashion will supersede custom altogether, and prologues take the place of acts. In this manner, the first act of Othello will lose its proper title; and A Winter's Tale and Pericles require to be thoroughly examined to find out how many of the introductory acts are really no acts at all, but prologues or introductory chapters. This is, indeed, playing the martinet with terms, and to no purpose.

Janet Pride, despite its French divisions, is, in all respectswith, perhaps, a difference in the writing-an honest melodrama of the true Adelphian breed. Vice and misery are its foundation stones; never-pausing excitement its life-blood; and alternations from mirth to murder, from crime to goodness, the head and front of its support. There is, however, much that is powerfully attractive in these common-place materials, wrought into a plot so well constructed by Mr. Dion Boucicault. The first act is decidedly the best; and few things more agitating have been

witnessed on the stage for some time than the scene where the mother, to save her child from the starvation that would inevitably befal it through the father's neglect and drunkenness, places it in the box of the Foundling Hospital, drops dead on the snow, and is stumbled over at the same time by her wretched husband, who is reeling home from a debauch. There are some powerful scenes in other parts of the drama, but they cannot rise from this; and though the termination is brought about skilfully, and poetical justice is dealt to all the characters, the mind is hardly satisfied. The first act, or prologue, takes place in Paris, in 1834; the second act, or prologue, some ten years subsequently, in Australia; and the last three acts, the veritable play, in England, in 1854.

The acting of Madame Celeste and Mr. Webster in the principal characters was excellent. They both had arduous parts Madame Celeste had two, mother and daughter-but Mr. Dion Boucicault, with his usual tact, wrote expressly with a view to their peculiar capabilities. Mr. Keeley had a humorous part; of which he made the most; and Mr. Paul Bedford figured conspicuously through one act as a bloodthirsty bushranger in

the woods of Australia.

The piece was put on the stage with every requisite that could give it effect, and some of the scenes were really beautiful. That Janet Pride will have a successful run, we cannot for a moment doubt.

REVIEWS.

No. 1.-" FATHERLAND FOR ME." Song. Gumbert. Cramer, Beale, and Co. No. 2.-"FOOTSTEPS OF ANGELS." Soug. fellow-Music by E. Schultz. Ditto, ditto.

Composed by Ferd.

Poetry by Long

No. 3.-" AT EARLY MORNING." Duet. Poetry by W. Bartholomew, Esq.-Music by F. Kücken. Ewer and Co.

No. 1 is a smooth ballad in D flat, both words and music being in the approved and ancient "fatherland" style. The harmony is generally good (a little Spohrish, of course), though there is nothing new in the tune. We object, however, to the dominant pedal on A flat-in bar 2, page 1-which, unprepared, comes in harshly and with an ill grace directly after the minor chord of the supertonic. There is also a terrible "engraver's error" in the first bar of line 3, where a natural appears, instead of a flat. Such ballads as Fatherland" appear by myriads in the German market, which is pretty_nigh choked with them. We have had a surfeit of Das Theure Vaterhaus.

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No. 2-("Footsteps of Angels")-is better, though, for all that, it might well pass for genuine Spohr. It is an elegant ballad in four verses, without any variations, either in the melody or accompaniment. The poetry, however, is expressed with feeling; and that poetry is among the most beautiful and human of the American Longfellow. Who is unacquainted with those stanzas beginning―

"When the hours of day are numbered, And the voices of the night," etc.and who would not like to emulate Mr. Schultz in setting them

to music?

No. 3-"At Early Morning is one of those pretty, but, we must add, insipid trifles, of which the composer of "Trab, trab, trab," is no doubt capable of manufacturing some half dozen before breakfast. The two voices jog on merrily in thirds and sixths, with an occasional "imitation" of the most infantine character, while the accompaniment is about as worthily employed in doing what amounts to little better than nothing.

"LET US WANDER BY THE OCEAN"-Duet, for two treble voices-Written by Carrington Moore. Music by E. J. Loder. "COME LET US AWAY TO THE FIELDS"-Duet, for two treble voices-Written by Carrington Moore. Composed by E. J. Loder. Cramer, Beale, and Co.

Simple, melodious, and voiced to perfection, nothing can be suited better for the drawing-room than these fresh and charming duettinos by one of our most experienced musicians. They are written on the accepted plan, with solos for each voice, ensembles and coda. There is not a vestige of effort or elaboration in either

of them, but the hand of the musician is betrayed in the manner of using the voices, whether alone or combined, in the pure feeling for harmony, and the extreme finish of the accompaniments. We have no preference for one over the other, and so can recommend both. The words by Mr. Moore are flowing and sensible.

PROVINCIAL.

composed by Signor Lanza, has been produced, with success, at DUBLIN. (Feb. 2.)-A new opera, entitled Hamet and Zelena the Theatre Royal. The characters were sustained by Miss Lanza, Mr. Haigh, Mr. Corri, Mr. Ellerton, and Mr. Durand. light and pretty, and the performance will no doubt prove The libretto is very trivial; but the music, though trivial too, is attractive. A trio, "Forgive," received a well-merited encore; and the same honour was bestowed upon a ballad sung by Mr. Miss Lanza was very effective in her part. Her voice, though very small, is pleasing, and her Haigh, called "Upon a bank." execution neat. M. Levey, the chef-d'orchestre, deserves much credit for the pains he has taken with the opera.

LEEDS.-(From a Correspondent.)-At the People's Concerts on the 20th ult., the band of the Orchestral Union performed in hands of Mr. Frank Mori. The programme comprised the overtures to La Gazza Ladra, Ruy Blas, and Leonora, with various operatic selections. Miss Milner varied the performances by the introduction of Mozart's "Non mir dir," and other songs, in which she was applauded. The fact that Miss Milner was a townswoman was not forgotten by the audience.-On Saturday evening, the 26th ult., Miss Birch, Miss Lascelles, Mr. Alfred Pierre, and Mr. Frank Bodda, made their third appearance this season at the People's Concerts. The room was not full. There was no novelty in the programme. The committee, with the same party of vocalists, might have ventured upon giving one of their extra nights, and performed the Creation, or one of the sacred works which, it is said, they have in preparation.—At the Stock Exchange Hall on Monday, the 28th ult., Mr. Willy gave his second Quartett Concert to a crowded audience. The programme included Haydn's quartet in G (No. 75), Mozart's in D major, and Beethoven's trio in G, two solos by Mr. Willy, and songs by Miss Senior, a local artist. The executants with Mr. Willy were Mr. John Pew (second violin), Mr. Bowling (tenor), Mr. Priestley (violoncello), and Mr. James Broughton (pianist.) The quartetts were performed in a satisfactory manner, Mr. Willy's playing being unexceptionable throughout. In the previous Musical Union Concert, the selections from Fidelio were sung in three different languages, Madame Rudersdorff, Mdlle. Sedlazek, and Herr Formes singing in German, Signor Benedetti in Italian, and the chorus in English-or rather Concert on Saturday the 10th, the services of Mrs. Enderssohn, Yorkshire, which is not always English. For the next People's Mr. and Mrs. Lockey, and Mr. H. Phillips have been secured.

the Music-hall to a crowded audience. The bâton was in the

LEICESTER.-Messrs. A. and H. Nicholson gave their annual Mr. Farquharson, Mr. Thomas, and the private band of the Duke concert on Tuesday last, assisted by Mr. and Mrs. Sims Reeves, of Rutland. The programme included "O'tis a glorious sight" and "Good-bye, sweetheart," by Mr. Sims Reeves; a song by Mr. Waley, with oboe obbligato, "Sing on, ye little birds," by Mrs. Reeves (oboe Mr. A. Nicholson); "The Desert" and "The tight little island," both given by Mr. Farquharson and encored; solos for flute Mr. H. Nicholson, and oboe Mr. A Nicholson;

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Rage thou angry storm," sung by Mr. Thomas. The band played overtures to Guillaume Tell and Zanetta. The concert hall was crowded, most of the families of distinction in the town and country being present in spite of the inclemency of the weather.

WORCESTER.-The second concert of the Worcester Glee and Madrigal Union took place at the Natural History Room on Monday evening. The selection of glees, songs, and madrigals afforded much satisfaction. Among the glees were "The Village Choristers" (Moscheles), "Discord, dire sister" (Webbe), “Behold the woods" (Mendelssohn), "The Tars" (Hatton), and "Peace to the souls of the heroes." Mrs. Evans, Mr. Cooper, and Mr. Mason were the solo singers; Mr. C. H. Redgrave the accompanist.—Mr.

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Davies has been giving some learned and interesting lectures on Ancient Music, at the Natural History Room. They have been well attended. OLDHAM.-Mr. John Lees, professor of music, gave an evening concert in the Town Hall, on Thursday, January 25th. The artistes engaged were Miss Birch, Miss Lascelles, Mr. Alfred Pierre, and Mr. Frank Bodda-Mr. John Lees presiding at the pianoforte as accompanyist. The audience, which was scanty, comprised most of the leading families resident in the neighbourhood, and the concert throughout afforded general satisfaction. Mr. Lees is deserving of encouragement for this undertaking.

UTTOXETER. (From a Correspondent.)—The ninth anniversary of the Uttoxeter Literary and Scientific Institution was celebrated on Friday, the 2nd instant. The new Town Hall being just completed, the opportunity was taken to add its inauguration to the festive day, and the town was thronged, in consequence, with the nobility, gentry, and commonalty of the county. I shall pass over all the ex-musical doings-for which, I dare say, you have no spare room in your columns-and come at once to the grand Soirée Musicale, as it was called. The vocalists were Misses Birch and Lascelles, Mrs. Lockey, Messrs. Lockey, Pierre, and Frank Bodda; the instrumentalist, Mr. W. H. Holmes (pianist). Of the vocalists it is unnecessary to speak. Of Mr. W. H. Holmes, the eminent pianist, you have not had occasion to speak so frequently. Independently of this, I select him for especial notice, as the impression he created was almost unprecedented in this somewhat out of the way, though by no means unmusical, place. Mr. Holmes played several morceaux during the evening, the most effective of which was his own capriccio, on "Partant pour la Syrie," which was enthusiastically encored, when he played Rule, Britannia," with one variation. Mr. Holmes was, in a subsequent part of the evening, specially requested by Lord Waterpark to play his fantasia, introducing "The Blue Bells of Scotland," which was instantly complied with, and received with loud and long continued applause. Besides the above, Mr. Holmes performed the "Wedding March" from Mendelssohn's music to A Midsummer Night's Dream, and some minor pieces which I cannot recall. In the course of the evening in one of his speeches, Lord Waterpark complimented Mr. Holmes as one of the best of our English pianists. The concert was a long one, and was rounded off with a friendly dance-alias, a ball-given in the spacious room of the Cross Keys Inn, at which Mr. | Scotcher's quadrille band attended. Upwards of six hundred persons dissipated into hops the hours till morning. Verily, it was a great day-and night-for Uttoxeter. ATHERSTONE.-(From a Correspondent.)-On Thursday evening last, the 25th ult., Mr. and Mrs. Paget (R. A. M.), gave a concert in the new Corn Exchange, under the patronage of the Right Hon. the Earl and Countess Howe, and others of the nobility and gentry. Mr. and Mrs. Paget were assisted by Miss Rainforth, who displayed her usual taste in "Sweet Home" and "Auld Robin Gray," both of which were encored. Mrs. Paget was heard to advantage in the air, "Ah! rendimi," and was encored in "Kathleen mavourneen," and one of Mendelssohn's duets with Miss Rainforth. Mr. Paget sang Handel's Arm, arm, ye brave," and a ballad "What will they say in England?" being encored in the latter, and in a comic duet with Miss Rainforth. Mr. Walter Brooks, late assistant organist at Gloucester Cathedral, accompanied the vocal music on the piano, and performed Beethoven's sonata in C sharp minor, and a fantasia on his own account. The concert commenced with "Partant pour la Syrie," and concluded with the National Anthem.

PONTEFRACT.-Mr. J. L. Hatton, the pianist and composer, gave his entertainment here on Monday the 22nd ult. The audience was meagre, and but little satisfied, owing to the transfer of the literary department from the care of Mr. Hatton to that of Mr. Martin Cawood, of Leeds, who was not au fait at the business.

STRETFORD.-The second concert of the Stretford Musical Society was given on Monday evening last in the new Public Hall. The artists were Mrs. Sunderland, Mrs. Thomas, Mr. Perring, and Mr. Delavanti, with a select chorus-Mr. George

Humphries, resident professor, officiating as pianist and conductor. The audience comprised most of the leading families in the neighbourhood, the large room being well filled in every part. Mr. Perring sang Beethoven's "Adelaida," and the recitative and air "Nina." Mrs. Sunderland was labouring under a severe hoarseness, and did not produce her usual effect. Mrs. Thomas, who possesses a contralto voice of no inconsiderable power, is hardly equal to Mozart's "L'Addio." The chorus, although selected carefully, were feeble and inefficient, and showed a want of rehearsals.

ORIGINAL CORRESPONDENCE.

SIR THOMAS A. AND LADY B., TOUCHING THE ORGAN IN CHURCH.

To the Editor of the Musical World.

SIR-At our church it was one day considered desirable to put up a new organ, the old one having outlived its efficiency. To our joy (I write for brother auditors as well as for myself), the new instrument beauty. Our organist, an expert hand, had no sooner proved his ability arrived a handsome fellow, the very personification of power and to control the large creature with the best possible effect for all parties, than a terrible onslaught commenced from a weekly host of nervous folks, headed by Lady B. These folks suffered materially, if the stopped diapason got added to the dulciana; most pitiably, if the swell box ever got open whilst the two diapasons were sounding; and beyond all endurance, if a pedal-pipe or a chorus stop by any chance broke loose. So these good folks, some of whom had endured their cushioned benches for twenty years or more, found themselves ready to perish, and possibly would have perished, had they not hit upon the powerful expe dient of threatening to quit both pew and piety, unless the organist, who, as they said, "couldn't play a bit, and didn't know sharp from flat," could be coerced into playing less, and shutting up the instrument whose tones proved so distracting.

Cowards may be pushed into bravery weak nerves may be pursed into omnipotence. Accordingly, Lady B. and her party gained the day, and were not routed from their cushioned ease. But what about our new organ and its accomplished master? Ask Sir Thomas A. He is dreadfully cut up, but doesn't despair yet. In conscious pride that he was a large and warm contributor to the organ fund, and has some sovereign remedies still left in his purse (for he, too is wealthy), he feels sure that the authority who commanded the organ into bondage will be glad to order its liberation, so soon as he shall awake to the dilemma into which the weakly wealthy ones have dragged him. And the dilemma is this. Sir Thomas A. and his party (you may suppose I mean the Armstrong party wait, and see) are strongly of opinion that their money has been obtained under false pretences, as nothing can be falser than to allure by the promise of greater effect, and to supply less-and they can prove that their old organ was the greater in effect. They further consider it a fraud to pay an eminent professor £80 a year for effects which the bellringer would be glad to work with a crank and that £80 will not remunerate the professor for any reputation he may a barrel for an additional £20 on his yearly pay-especially considering lose whilst playing with two fingers and a thumb, on pain of dismissal if

caught at more.

But the main reason why the Armstrong party paid for a new organ was, that a noble instrument might be secured, and the praises of "the great congregation" might nobly ascend from floors to roof (and higher too, they hoped), and that something worthy of Christian worship might be the characteristic of their Sabbath rejoicings for all the blessings of this life, and for the hope of a brighter one beyond. There is truth with the Armstrong party, and I know they will triumph. Their leader, Sir Thomas, though of a high family, does not profess to understand aristocratic religion. A great congregation does not appear to him to be a congregation made up of great folks; and albeit he is himself a great man in society, he would rather take his place amidst a goodly congregation, and not call it a great one at all, if any mistake must necessarily arise about the name. Whether the worthy minister of the church has taught Sir Thomas this enlightened view of the case, sincerely hope that the former supposition is the true one. or whether he needs to be taught it by Sir Thomas, I cannot say ; but I I can then confidently predict that he will soon assure Lady B., etc., etc., that although he would prefer their continuance with his flock, he can no longer consent to that flock being starved because of any offence their ladyships may conceive at the healthy vigour of their fellow-worshippers. I am, sir, your most obedient servant, AUDITOR.

January 26, 1855.

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