he work, correctly conceiving and truly rendering its signification, both as regards the idea and the feeling which pervades it: his whole soul, too, must he thrown into his task, and stream, as it were, into the composer's work. This requires complete abnegation of self, and the suppression of the common desire to add anything original, or create a sensation by any technical effect, as well as, at the same time, a perfect devotion to the work and reproduction of it from the performer's own soul, through love and enthusiasm.

In the execution of vocal or instrumental works for several performers, the individuality of the conductor iB everything. What this is capable of effecting may be appreciated by those persons who heard Nicolai conduct the Philharmonic Concerts.

To embue all the members of a large orchestra with just and delicate comprehension of the compositions of genius; to form out of mechanism and technicality a living organisation in which warm pulses beat, and not only to impart to the heterogeneous colossus one's own inspiration, but, by means of it, to encircle its various parts with a connecting bond, which elevates them to one equally inspired Whole, in which the picture that the conductor, full of devoted love, has formed in his own breast, shall be perfectly and warmly reflected, is a task seldom accomplished, and one which only eminent musical individuality, that understands the works of genius, and, by a complete sacrifice of self, has made them its own, can and will successfully carry out.


In accordance with a new Postal Regulation, it is absolutely necessary that uM copies of The Musical Wuhlu, 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, Holies 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, 61.


LONDON, SATURDAY, January 6th, 1855.

Ik our last Number we were compelled to decline inserting any further letters connected with the Harmonic Union and its affairs, unless as advertisements. We felt inclined, indeed, to.adopt this precaution more than a month ago; but, as statements had appeared reflecting on the veracity of certain "Directors," it was impossible to refuse those gentlemen the advantage of setting themselves right with the public. This sort of thrust and parry, parry and thrust, however, may be carried on to the end of the present volume, and to the ultimate dissolution of the Harmonic Union, even as a body protesting in the face of evidence that it still exists and flourishes. The line of demarcation must be drawn somewhere. We have drawn it, and intend to stick to it. It would be absurd to expect at our hands the publication and redress of the grievances and complaints of every individual amateur who may take upon himself— imaided, or in conjunction with one or two confederates—

the name and title of "Harmonic Union.'' Our readers would not thank us; nor would it be just to our advertising department, the proper arena for all such statements and misstatements, counter and miscounter statements.

Moreover, we must own that we are heartily tired of the affair, which appears to be little better than a squabble about matters of no public interest whatsoever, and of little consequence to any but the parties immediately concerned, and Mr. Benedict, the ex-director of the society, who, though the most substantially concerned, has, in that gentlemanly and conciliating spirit for which he is as noted as for his eminent musical acquirements, refrained from troubling us altogether. Ono letter only has been addressed to the Editor of the Musical World by Mr. Benedict; and this, thinking the matter had been amicably or legally arranged, we thought it better not to print. But, in answer to our "notice" of last week, we have been favoured with a very pressing communication from Mr. Newton, one of the Directors of the late "Harmonic Union," insisting so strongly on his right of reply to the "explanations" of Messrs. Roodhouse and Stroud, that, for once and for the last time, we shall yield the point, and thus make an end of it in earnest, without one single "interrupted cadence" more. As a commentary to Mr. Newton's letter, nevertheless, we must in duty append that of Mr. Benedict, which happens to be still in our possession, and does not in all respects strictly tally with the argument of the other. Mr. Newton writes as follows:—

To the Editor of the Musical World.

24, Granville Square, Jan. 1, 1855.

Sib,—I quite agree with you in your notices to correspondents, that your space can be occupied with something more generally interesting to the public than the squabbles of members of the above Society j but as you have inserted a letter from Messrs. Roodhouse and Stroud, which contains an untruth, and reflects upon the honour and integrity of the remaining directors of that Society, I claim, as an act of justice, that you giro me, as one of those directors, an opportunity of replying to it. It was not any of the present directors that thrust the concerns of the Society before thejpublic in the pages of the Musical World, and, therefore, I think you have no right to deny me an opportunity of replying to a statement that has not only been published in the Musical World, but which has been most industriously circulated among the profession by means of the very type set up for your own use. The only point to which I think it absolutely necessary to reply is that relating to Mr. Benedict's claim.

It is asserted that the present directors intended to repudiate this debt, and that the retiring directors voluntarily took it upon themselves. This is totally devoid of truth, and I most unhesitatingly deny that the directors ever dreamed of repudiating Mr. Benedict's claim. In fact, by a resolution of the board, I was instructed to wait on Mr. Benedict, and explain to him that as Messrs. Lockyer, Stroud, Roodhouse, and others, had not paid their quota to meet the outstanding liabilities, he could at that time he settled with, and, after some further conversation, I offered to Mr. Benedict to write him a cheque, there and then, for [tlie shares of Messrs. Stainforth, Lias, Jennings, and myself, if ho would give me a receipt freeing those gentlemen. This, however, he declined to do, and I was obliged to leave him with a promise that I would endeavour to arrange something with the other directors to clear off his claim.

An arrangement was subsequently proposed to the defaulting directors by Mr. Lias, whereby they were to take upon themselves certain liabilities, among which Mr. Benedict's debt was one.—I am. Sir, yours obediently, W. E. Newton,

•| Director of the Harmonic Union.

From the above, any ordinary intelligence would arrive at the conviction that Mr. Benedict had either got his due, or was tolerably sure of getting it. Let his own statementsdated December 19, 1854—be heard:-~

To the Editor of the Musical World.

Sib,—In consequence of my name having frequently appeared of late in your columns, with reference to the transactions of the Harmonic Union, I beg of your courtesy to insert the following statement in your next number. It is perfectly true that I wrote the letter which appeared in the Musical World of December 16,* though I did not agree to the arrangement therein contained until after repeated and fruitless applications to the Hon. Secretary, during a period of six months. It is also a curious but undeniable fact, that, up to this day (December 19—we answer for nothing since.—Ed.), I hare not received any re* numeration whatever for the last four concerts, though the season 1854 terminated on the 3rd of May. Without at all entering into other grievances which I may have against the former directors of that Society, I feel it due to the ladies and gentlemen comprising the chorus of the Harmonic Union to express again my heartfelt thanks for their unremitting zeal, and for their kind feelings towards me. I entertain the hope, that energetic steps will immediately be taken to reconstitute the Harmonic Union on an entirely independent and firm basis, when nothing would give me greater satisfaction, than to devote my services to its complete and permanent sucoess.f Sir, your most obedient servant, Jules Benedict.

Deo. 19. 2, Manchetter-sauare.

If the statements of Mr. .Newton and Mr. Benedict can be reconciled, we shall be glad; but whether or not, we must from this moment retire from the controversy, other subjects of more genial and instant importance imperatively demanding our attention.

After all that has been said and written about the new organ which Mr. Hill has built for the Panopticon, we are bound to confess our astonishment that it has been put to no better uses up to the present moment. Still more are we surprised, when t.we reflect that such an artist as Mr. W. T. Best has been appointed organist in perpeluum. With these preliminaries—a great instrument and a great performer—what was more naturally to be looked for than great music? and would not this have been a most legitimate and solid feature of attraction 1 Where science is so honourably represented, why should art be degraded? Unfortunately this is too strictly the case. The Reverend Gentleman to whom the management is entrusted entertains a notion that the oftener the organ is played upon the greater will be its vogue; and that the more trifling and ephemeral the music, the better will the public be satisfied. That these are delusions may be gathered from the fact, that the organ has been voted little short of a nuisance.

Why, it may be asked, does not Mr. Best himself remonstrate f—since, though Mr. Best's whole time is at the disposal of directors, they must surely believe him to be a competent authority in his department, or they would not have engaged his services at very considerable expense. If even Mr. Best were enjoined to perform the real organmusic of Handel, Bach, and Mendelssohn from time to time (once in the morning, and once in the evening, at least), which would interest and draw to the Panopticon a large number of amateurs, there would be something to show for the cost of the player and the instrument. But nothing of the sort Mr. Best is set down to "illustrate" the Battle of Alma, and the six-and-twenty " dissolving views" of Aladdin and the Wonderful Lamp! Fancy such things, accompanied by music on the organ, solus—and such an organ, too, as that of Mr. Hill!

On the several occasions we have attended at the Panop

* This wag not, let it be remembered, addressed to the Musical World.—Ed.

t It is necessary to remind the reader that this was written before anything was known of the negotiations with Herr Molique.—Ed.

ticon (for the solitary purpose of listening to the organ and its talented exponent), we have heard nothing but "arrangements," and bagatelles that should never be played upon the "king of instruments " at all. And yet we nave had plenty of opportunities; and, moreover, at all sorts of hours. Between noon and half-past 4, four various "sittings; between 7 and 10 P.H., three various "sittings"—and all the time not a shadow of a fugue, a prelude, or a sonata! This is utterly disgraceful. It is unjust to Mr. Hill, the builder; it is unjust to Mr. Best, the professor; it is unjust to the organ, as a noble piece of workmanship; and unjust to the Panopticon, as a depdt for the exhibition of science and art, which ought to have nothing in common with the conventional clap-trap, "condescensions," vulgarities, and puerilities of casinos and raree-showa.

M. Charles Halle has been in town. On dit, that one of the Directors of the Philharmonic Society was deputed, or deputed himself, to "offer" the well-known pianist the vacant rostrum of Mr. Costa, but that M. Halle' could not decide until he had consulted his friends at Manchester, and the committee of the Concert Hall, M. Hall6 being Conductor of the "Gentlemen's Concerts." Mr. Benedict has also been mentioned in connection with another of the Philharmonic Directors; Herr Molique with another: Mr. Alfred Mellon with another; and Mr. G. Anderson with another. If these reports have any real foundation, there must have been no less than seven "offers" made—an "offer" by each particular Director. M. Sainton "offered"

M. Berlioz; Mr. "offered" Dr. Spohr; Mr.

"offered" M. Hall<5; Mr. "offered" Mr. Benedict;

Mr. "offered" Herr Molique; Mr. "offered" Mr.

Alfred Mellon; and "offered" Mr. G. Anderson. Every

Director must, therefore (if this be "sooth"), have had a Conductor in his eye, and "offered" him.

The cause of Mr. Costa's resignation (he carries away his own stick, leaving merely the rostrum), has not been published; but the "40 members" have a right to be made acquainted with it; and, if they do not insist upon knowing, they are simply 40 very "soft" professors—to say nothing harder of them. The instant we are informed, we shall inform our readers. Meanwhile, the announcement of the concerts has not yet appeared in the papers. We are all on the look-out; for this is a very important matter—in a smaller and more peaceful sphere, indeed, almost tantamount to Lord Raglan resigning the command of the Crimean army.

Grisi And Mario.—It was curious, the other night, to see how the supposed last operatic performance brought out of their retreats unaccustomed celebrities to hear once, at all events, Grisi and Mario. Great poets, historians, lawyers, governorselect, and lions of all kinds shook their distinguished manes in the redolent air of the gay assemblage. We were quite struck with this, as with the great number of venerable, silvery heads, that alternated, like "shocks of corn fully ripe," with the roses and lilies and carnations of the operatic flower-field.—-New York Musical World.

Sophie CatrvELLi.—In the Huguenots it is still Mdlle. Cruvelli who attracts the crowd. If it is impossible for the magnificent voice of this cantatrice to gain anything in ampleness and puissance, it would seem, at least, that her talent as a singer and actress rises with each performance. On Wednesday last she was more beautiful and striking then ever, and the accustomed ovations were bestowed upon her.—France Musicale.

Mr. Trust has been appointed organist of St. Mary's Church, Paddington.


Despite the peculiar attractions of the theatres at Christmas times, and notwithstanding that everybody in London must have gone once at least to Drury Lane during the series of concerts, the vogue of M. Jullien's entertainments has lost little or nothing by the new period chosen, or the change of locality. Covent Garden—making allowance for the difference in the size of the two houses—is as crowded every night, after Christmas, as was Drury Lane before. The excellence of the performances remains undiminished; or rather, we should say, betokens improvement, inasmuch as Madame Pleyel, the celebrated pianist, and Herr Ernst, the renowned violinist, have both been added to M. Jullien's corps.

M. Jullien's second series of concerts commenced on Friday in last week. The Eoyal Italian Opera had undergone such extensive alterations that it was difficult to recognise it. Either from hurry or want of judgment, several mistakes were committed the first night, not at all advantageous toM. Jullien's inaugural performance. In the first place, there was not half light enough. The magnificent chandelier, suspended over the centre of the pit, was not allowed to send forth one of its thousand jets of gas. The candelabra which afforded light to the grand tier were removed altogether, and, in short, the front of the house seemed In total eclipse. Around and behind the orchestra the light was abundant, and there was no room for complaint; but the boxes with their dark crimson curtains demanded the relief of the most brilliant light. In the readingroom great dissatisfaction arose from the circumstance of the newspapers being removed, after the first part of the performance, to make room for the refreshments, and murmurs of discontent were heard on all sides. "We art) glad to say that all was remedied on the following night; The magnificent chandelier, as on the nights of the opera, filled the theatre with its ten hundred gas lights, and with its myriads of reflections from the glassdrops; the lustres were restored to the grand tier; and an immense improvement was effected, and great lightness obtained by covering the dark crimson hangings of the boxes with white open-worked muslin curtains. Moreover, the reading-room was transferred to the green-room; so that those who eat and drank, and those who read and thought, had no chance of coming into collision. In all other respects Covent Garden, fitted up for M. Jullien's concerts, now presents the same aspect as Drury Lane did a short time since. The management of the orchestra, and general decorations, are identical.

The programme of the first night specified two novelties— Madame Pleyel's first appearance, and the first performance of the "Pantomime Quadrille," written expressly by M. Jullien for the time and the occasion. In everything else the Covent Garden programme was a facsimile of the Drury Lane programme. An overture was given, a movement from a symphony was introduced, Madame Anna Thillon sang, a selection from a popular opera was performed, the whole interspersed with dance music, the most acceptable of which was the "Allied Armies' Quadrille"—one of the most characteristic and exciting of M. Jullien's works of this class.

Madame Pleyel's appearance, of course, constituted the feature of the concert. The distinguished pianist was received with thunders of applause, and looked in excellent health and spirits. She selected two pieces—Les Patineurs and the Tarantella of Liszt—which, it is not too much to say, she has made entirely her own. Her execution of both of these morceaux was quite wonderful. Such perfect command of the resources of the instrument, so much finesse and delicacy combined, so pearly a touch, such finish, such brilliancy and freedom, have rarely, indeed, been combined in the same pianist. Madame Pleyel was encored unanimously and enthusiastically in both pieces. She repeated Les Patineurs, but declined the Tarantella, M. Jullien making an apology for her on the score of fatigue, Madame Pleyel having arrived from Brussels only a few hours before the performance. That the celebrated pianist will be one of M. Jullien's very greatest " acquisitions," we need not say.

The "Pantomime Quadrille" was a happy conception of M. Jullien, and has been developed with felicity. M. Jullien has taken for his themes some of the most familiar nursery

airs—such as "Boys and Girls come out to play," "Little Bopeep has lost his sheep," and "See-saw, Margery Daw." To them he has added the comic tunes of " Hot Codlins," " Tippitiwitchet," and "Pop goes the Weazel." In " Boys and girls come out to play," dovetailed with " Little Bo-peep"—constituting figure 1 of the quadrille—there are some highly ingenious "imitations." In figure 2—"Hot Codlings-,"—there are "reeling" variations for flageolet, flute, oboe, and fagotto, for Messrs. Collinet, Pratten, Lavigne, and Baumann. We prefer the "See' Saw" Quadrille—Sgure 3—to any of the others. The instrumentation is expressive of the swaying motion suggested by the name of the tune. In the fourth figure—"Tippitiwitchet"—a real pantomimic effect is produced by the membera of the orchestra sneezing, snoring, gaping, and laughing ad libitum. In the fifth figure—" Pop goes the Weazel"—Herr Kcenig produces an irresistible effect by his performance on the penny trumpet. The whole quadrille was listened to with delight, and applauded unanimously at the end. The applause continuing without cessation for some minutes, M. Jullien repeated tne last figure.

On Tuesday, Herr Ernst made his first appearance. . With a performer less eminent and less popular, the place to which the great German violinist was appointed in the programme might have endangered success. He played in the second part, and chose the first movement of Beethoven's violin concerto. Mad. Pleyel had previously performed Mendelssohn's Concerto in G minor with immense effect, being encored in the last movement. Herr Ernst, however, was not likely to be affected by any amount of favour bestowed previously. He is too much of a favourite with the public, whom he has delighted for years, and for whom his playing has invariably a charm beyond that of any other living violinist. His reception was enthusiastic in the extreme. Had Beethoven written the concerto expressly for the performer, he could not havo adapted it with more art and more felicity to hio fervour, his profound feeling, and true majesty of style. Herr Ernst is the real poet of the violin, and \h no other composition of the great Beethoven, perhaps, is there displayed more intensity of expression, warmth of colouring, and variety—the essentials of poetry in. every art. Tho cadenza introduced by Herr Ernst is original, ingenious, and of extraordinary difficulty—besides being admirably in keeping with the. text—the first desideratum in a cadenza. The execution of this cadenza was marvellous. The applause at the conclusion was genuine and flattering, and the "grand artist" was unanimously recalled into the orchestra.

Madame Anna Thillon sang a uew Spanish canzonetta, " II Contrabandista," with such charm and naivete as to elicit an encore. Instead of repeating the canzonetta, however, she gave "Minnie," which we think was a mistake.

Beaumont Institution.—The second concert of the season of the above Institution took place on Wednesday evening last, and a more delightful concert has seldom been held, even in the Hanover-square Booms. The principal attractions were Mad. Clara Novello, Miss Messent, with her promising pupil Mdlle. Julie Mouat, Mr. Montem Smith, Mr. Bolton, Mr. Farquharson, and Mr. Sims Reeves, with Mr. Frank Mori as conductor. Mad. Clara Novello was as effective as ever in Verdi's air from Ernani; as she was also in the duet from Rigoletto with Mr, Sims Reeves. Miss Messent sang very sweetly the ballad from Maritana, "Scenes that are brightest," and was encored in "The march of the Cameron men." Mr. Sims Reeves gave "Fra poco" in a glorious manner, and created an uproar of applause in Mr. Frank Mori's new patriotic song, "Strew roses." Mdlle. Julie Mouat sang "Vanne disse," from Roberto II LHavolo, and "Des strauschen," both of which were much applauded. Messrs. M. Smith, Bolton, and Farquharson, each gave general satisfaction in the pieces allotted to them. A terzetto by Ropke, "Dare the foe invade our land," the quartetto from Don Pasquale, "E rimasti," were well sung and very effective under the able conducting of Mr. Frank Mori. The room was inconveniently crowded.

Miss Siabbach, who has been singing with much success at Leipsic, Breinen, and other German cities, has returned to London after an absence of three months.


"Grand Sonata," for two performora on the pianoforte. Composed by Carl Ewer. Op. 51. Q-. Scheurmann. A wall-written work, fluent and orderly, but not by any means "grand." A "grand sonata," however, we suppose means a sonata in four movements; "complete sonata" would nevertheless bo a more befitting general title. For example, Beethoven's pianoforte sonata, Op. Ill, which has only two movements and a fragment of introduction, is one hundred times "grander" than this four-movement sonata of Herr Ewer. It has, nevertheless, merit, if not originality— thero is a nice memory of Mozart in it—and can do good to learners of moderate skill. The first movement in C major is flowing, though square-cut, and something too lengthy for the interest of the themes. Tho scherzo, in A minor—with a nice smack of Beethoven's earlier manner—is spirited and satisfactory. The andante, in P, A flat, A major and F—with a nice smack of Spohr—is pretty, but too short for so many keys. The rondo in C, is a lively, animated, neatlycomposed and old-fashioned allegro non iroppo. There is one great merit in this "grand sonata 1" it cannot be accused of any resemblance to Mendelssohn from one end of it to the other. It is, in short, wholesome music, if not very fresh, bright, surprising, or invigorating.

"thb Mormxtb Op The Stbeam." Valse Brillante. W. Borrow. Metzler and Co. This is decidedly better than either of the pieces wo lately reviewed by tho same author. The subjects ore definite—though the firat in E flat, is scarcely in the waltz-style, and no part of the composition suggests even faintly the idea of a stream "murmuring." Mr. Borrowt nevertheless, has a right to "borrow" what title he pleases for his music, and Bo it be well written and efiectivo like the presont example, we have just as much pleasuro in saying so, as if it was invested with a less fantastio nomenclature. Seriously, however, our composers Bhould consider "rhyme and reason," in giving names to their effusions.

"the Allegretto Movement" from Mendelssohn'o Symphony to the Hymn of Praise. Arranged for tho Organ from tho full score. By J. Martin Dunstan. J. A. Novello.

A very skilful arrangement of one of the most original and lovely of all the orchestral movements of Mendelssohn. The second part, in which the chorale first appears, is likely to bo the most offectivo • but tho whole can hardly fail to excite the interest and attention of organists of intelligence and feeling.

"Two Ciiop.aj.es And Double Chant," for four voices, with an accompaniment for tho Organ, arranged from Mendelssohn's Ops 58 66, and 70. By John Hills. Ewer and Co.'

We object, on strong principle, to this sort of huckstering with the works of great men. The double chant in the above collection is a miserable parody upon the opening bars of one of the most beautiful choruses in the second part of Elijah; but it is not for that a bit more to be repudiated than the others.

"Thb Depaetube Fob Thb East." By Louise Christine. Charles Jefferys. The words of this ballad—which is dedicated to the Duchess of Wellington, and composed expressly for Mr. Augustus Braham—are very good, and of the patriotic flavour, and tho music, especially the opening melody in G- minor, is sensible and expressive. The last part in Bflat, "Cheer, cheer, my harp," however, though stirring, is more common-place (not to say "vulgar," a lady being in the case) than the rest. _^__


In the absence of any critical information respecting tho two great artists in the American journals, we extract the following squib from the columns of our contemporary, the New York Musical World, which may amuse if it does not greatly edify our readers:—

A lady, who dame over in the same steamer with Grisi and Mario relates, that Mario's affectionate shadow (the hypothetical Miss "Courts") irresistibly followed him, of course, on tho embarkation, but alighted upon the deck of the steamer arrayed in a lilac-coloured silk, with flounces embellished with featbertrunming; over the whole of which was worn lace. Upon her

head was a fragile, breath of a bonnet, trimmed with orange blossoms. The lady advanced to the saloon, placed her hatin the hands of her maid, and reclined graa»fully upon a lounge Whereupon the maid covered her with lace. A lady passenger entered into conversation with her, and asked if she did not thmk Mario handsome. Thereupon she burst into a fit of laughter so contagious, that everybody in the saloon was constrained to laugh with her.

Grisi afterward playfully said, that she wished a committee of gentlemen would incontinently drop her into the sea—adding more earnestly, however, that she really had, for her, the evU eye. She had followed them wherever they went—had gone with them to St. Petersburg. Twice, in such instances, had they met with comparative failure. If they failed in the United States, it might be ascribed to the same evil eye. Poor Miss Coutta! Can the eye of love ever be evil 1

There is no doubt of one thing, however, that Miss "Coutte" has here made a sensation. She pays thirty dollars a-night for her capacious stage box, which she—and her magnificent bouquet —occupy entirely alone. Each time she makes her appearance in a still more fabulously-radiant costume; and we doubt if more opera-glasses are levelled at Grisi and Mario on their appearance than at Miss Coutts. Her appearance and disappearance being generally uniform with that of Mario (as well becomes a shadow —sometimes, haply, the coming tenor-event casting its shadow before and sometimes a trifle behind), the audience are kept well advised whether the fascinating singer is to appear in this or that act: and infallibly, if in an entire opera there is to be no Mario, there is—no Contts I •

Now, despite all criticism, a beautiful expression may sometimes be caught even in the least beautiful of faces; and we think least beaUtiftd is not too hareh a term for any gentleman justifiably to use of any lady. So, in the least beautiful- face in question, we one evening caught, in an unguarded moment of general admiration for tho peerless Mario, an expression of appealing tenderness, which made us feel—badly. We confess it. We really wished that a Mr. and Mrs. Coutts occupied that desolate stage-box, instead of a solitary Miss only.


A Performance of choral music was given on Monday evening m St. Georges Hall by un orchestra of nearly one hundredlnd forty performers. *TM

The first part consisted of Beethoven's Cantata, entitled Tf« Praise of Musicarranged for English words. The second Dart devoted to Mendelssohn's WalvurgU Night. The solo vocalists M^Wetss11116 Novell°,Mrs. Weiss, Mr. Sims Reeves, and

The band comprised Her Majesty's private band, headed by M. Sainton, and reinforced by a selection from the principal performers of the Philharmonic Societies and the Royal It-ilian Opera. J ■"»•""»

The chorus, seventy-five in number, were selected from tho Royal Italian Opera and the amateurs of the Sacred Harmonic Society. The performance was conducted by Mr. Anderson, the director of Her Majesty's private band: and Mr. W. G. Cusins organist of Her Majesty's private chapel, presided at the organ.

.The Queen and Prince Albert, accompanied by their Royal Highnesses the Duchess of Kent and the Duchess of Cambridge the Princess Mary and the five eldest royal children, the dinnercircle, the evening company, and the ladies and gentlemen in waiting, entered the Hall about ten o'clock, when the performance commenced. v

Sacred Harmonic Society.—The first performance this year of Elijah took place last night, at Exeter Hall. The principal vocalists were Madame Clara Novello, Miss Dolby, Miss Bassano, Miss Weiss, and Mr. Sims Reeves. The hall was crowded in every part. Next to the Messiah, Mendelssohn's chef-d'auvre is always the grandest and most complete performance of the Sacred Harmonic Society.


Liverpool(Dec GO).—In an article headed "St. George's Hall," the Liverpool Mail, of the above date, contains some pertinent remarks as to the uses to which the hall might be applied, which we think worth while extracting. "The visits lately paid to the Saturday Evening Concerts," says the journal, "at the private hall in Lord Nelson-street, by the mayor and his predecessor, and afterwards by Lord Stanley, naturally suggested that this public hall could not be dedicated to a better use than by making it the means of encouraging a taste for music among our masses, for whom so few cheap pleasures are provided except -at the ale-house. Lord Stanley's eloquent and truthful remarks on the influence of music on the masses we printed on the occasion of his visit to the People's Concerts, and they are worthy of all commendation. Why then not attempt improving our people on a large scale? Here the people have a hall, with two music rooms, on which thousands have been spent, and an organ which has cost, or is to cost, several thousands more. This magnificent instrument is expected to be complete in February. But where is the organist 1 We hold that there ought to be one, and $hat the selection should be made at once. His salary should be liberal. If £600 a year would not purchase the highest talent, £750 or £1000 would; and he should be tied down strictly to abstain from all tutorial competition with the musical professors of the town. With an adequate remuneration guaranteed to him out of the public funds, his time, and attention, and musical powers should be employed exclusively in the service of the people; and it should be one part of his duty to encourage choral and sacred music among amateurs.

With a large surplus income, the Corporation have no excuse for leaving the People's Hall useless for the people's enjoyment; and, if technical objections arise, the expense may be legally met, as in the case of the recent visit of the British Association to the town, by an addition of £1,000 a-year to the Mayoral allowance.

But we are prepared to go further. We advocate gratuitous admission to performances of sacred music every Sunday. We cannot go the length with some, and recommend oratorios for Sunday evenings. The clergy would complain of the withdrawal of their congregations, and we doubt whether public feeling in this country would tolerate it. When the Be v. Charles Wesley introduced sacred concerts on Sunday evenings, a popular outcry was raised. But why not adopt a middle course, and have free performances of sacred music at St. George's Hall every Sunday afternoon 1 The afternoon service at Chester Cathedral is an hour long; and having a first-rate organist, and a competent choir, crowds throng to it every Sunday afternoon. At St. George's Hall they might begin with "Gloria in Excelsis," and end with "God Save the Queen." The organ is to be of nnrivalled power. Amateur choral societies would come forward to assist. The public would crowd to the hall; the musical taste of the people would be drawn out and elevated, and a spirit of reverence and devotion encouraged, to which neither the clergy nor any other rational being could object. At present our people are musically far behind even those Russian serfs whom we deem semi-barbarous. Fowler's "Sovereigns of Russia" tells us that the musical services of the chapel royal of St. Petersburgh are not excelled by those of any choral band in Europe, and that Madame Catalani, on hearing these Russian choristers, exclaimed,'My song is of this world, but their chaunt is of the world above.'"

Ibid.—On Tuesday evening, the 26th ultimo, the Sacred Harmonic Society performed the first and second parts of the Messiah, in the Collegiate Hall, which was crowded by a most respectable audience, among whom were the Mayor and many of the principal families of the town. Mr. and Mrs. Paget, who were new to a Liverpool audience^achieved a decided success in the bass and contralto music. Mrs.Hiles sang the soprano music in a most creditable manner. The choruses, numbering 200 voices, sang with a precision which reflects great credit on their conductor, C. D. Hackett, Mus. Bac. Mr. J. F. Smith presided at the organ.

J On Wednesday evening, the 27th ultimo, Mr. B. R. Isaac I gave a clasical concert, at the Music-hall, Bold-street, which was but poorly attended. The artistes with Mr. Isaac were Herr Molique, Signor Piatti, and Madame Rudersdorf. The concert commenced with Mendelssohn's trio in D minor, very nicely played; after which Madame Rudersdorf sang the German version of Mozart's "Non mi dir." Herr Molique then gave two of his violin melodies, the second of which was encored, and was followed by Rode's variations for Madame Rudersdorf. Mr. Isaac selected Stephen Heller's " Im

Erovisata,"on Mendelssohn's Maid of the Ganges, and his "Etude, ia Chasse." Both were well played. Beethoven's "Kreutzer Sonata," for pianoforte and violin, was done full justice to by Mr. Isaac and Herr Molique. Signor Piatti followed with a solo on the violoncello, on themes from Linda, after which Madame Rudersdorf sang two German songs by Taubert, the concert concluding with the first performance in Liverpool of Spohr's grand trio in E minor, for pianoforte, violin, and violincello.

Manchester(Dec. 30).—On Thursday evening, Dr. S. S. Wesley, organist of the Cathedral and College, Winchester, performed a selection of music at Providence Chapel. The selection, among other pieces, comprised three fugues by Bach, two instrumental pieces by Spohr, the andante from Beethoven's symphony in D, the Hallelujah Chorus from the Mount of Olives, by the same composer, and Handel's variations upon the " Harmonious Blacksmith;" besides these, Dr. Wesley gave some very clever variations by himself on an air by Kozeluch, also an introduction and air, and an andante of his own composition. The performance was a masterly one, but the effect was considerably impaired by a running accompaniment, in the shape of directions as to the management of the stops, very energetically given by Dr. Wesley to his assistants, Mr. Groves, the builder of the organ, and another gentleman. The audience was by no means so large as we anticipated, the chapel not being half filled.

Ibid.(From our own Correspondent)—The Classical Chamber' Music Society gave its fourth concert on Thursday week. The following was the programme:—

Past I.—Grand Trio—pianoforte, violin, and violoncello (in D, Op. 70, No. 1.), Beethoven.—Sonata—pianoforte and violin (in E flat, Op. 12, No. 8), Beethoven.

Pabt EC.—Quintet—two violins, two violas, and violoncello (in J), No. 4, Mozart. — Variations, sur un Theme de Handel—pianoforte and violoncello (in Or), Beethoven.—Solo de Concert—violin, Sainton. Nocturne and Mazurkas—pianoforte, Chopin.

M. Sainton, as first violin, appeared in lieu of Herr Ernst and Herr Molique ; and in order to give a stringed quintet with effect, Herr Steingraber, from the band of the Royal Italian Opera, was engaged as an additional viola. The other executants were as before—namely, second violin, M. Carrodus; viola, M. Baetens; violoncello, Signor Piatti; and pianoforte, Mr. C. Halle. Beethoven's trio was admirably played by Messrs. Hall6, Sainton, and Piatti. The violin sonata afforded another opportunity for M. Sainton to show his excellence in the performance of classic music; as leader of Mozart's glorious quintet nothing could be better. The duet for violoncello and pianoforte lacked sustained interest after the great works which preceded it. M Sainton again delighted the audience in his solo for the violin. It was, if anything, too long at that time of the evening, but it was a first-rate display of execution. The passages in harmonics were remarkable for their certainty and clearness. M. Sainton was continually applauded during the performance, and still more warmly on its conclusion. Mr. Charles Hallo gave a Nocturne and two Mazurkas of Chopin's to wind-up the concert; the Nocturne being, by far, the most charming of the three. The fifth concert is announced to take place on Thursday next.

Ibid.—The usual Christmas choral concert was given at the Concert Hall on Wednesday evening. The performances consisted of Spohr's Last Judginent, and selections from the Messiah. The principal singers were Madame Clara Novello, Miss Armstrong, Mr. Sims Reeves, and Herr Formes. Mr. Charles Halle conducted, Mr. C. A. Seymour was the leader, and Mr. W. Barlow presided at the organ. Spohr's Oratorio made a great impression. Miss Armstrong's singing, however, constituted a serious drawback to the performance. It was injudicious to

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