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Thomas A, and Lady B, and Church Organs,
92. The Amateur Society, 161. The Organ,
744. The Philharmonic Society and its
Director, 306. The Philharmonic Society
and Mr. J. B. Chatterton, 110. The Poor
Tuner at Manchester, 193. The smallest
Receipt on record, 782. Virginals, The, 782.
War, Weather, and Music, 504. Wagner,
Richard, 189. Weber's Dernière Pensée,
616.

Costa, Signor, 499, 528
Croft, v. Lumley, 60, 103, 760, 777
Cruvelli, Marie, 26

Cruvelli, Sophie, 9, 161, 398, 451, 834, 835

Deaths, 104, 120, 200, 612, 772
Dejean, Madame Julienne, 791
Departures for the Continent, 528
Der Freyschütz “Redivivus," 35
Do Beasts like Music? 785
Don Giovanni, 342
Donizetti, 517

Dramatic Gossip, 109, 122, 140, 173, 189, 199,

215

Drury Lane Theatre and Mr. E. T. Smith, 81
Duke of Cambridge in Paris, 760
Duprez, M., 699

Ella, Mr., Lectures, 347

Erard, Monsieur, 549

Ernst, Herr, 35, 343, 455, 806
Exeter Hall, 693

Eva, the Ballet of, 283, 300, 307, 327, 338

Farren, Mr. W., 455, 468, 746
Ferraris, Amalia, 792

Festival of the Three Choirs, 395, 565
Fashions à la Rachel, 693
Favante, Mdlle. Rita, 747
Field and Hummell, 600
Fish with Musical Scales, 372
FOREIGN-Aix la Chapelle, 139, 570, 633, 663,
682, 695; Amsterdam, 13, 22, 67, 87; Bad-
Gastein, 570; Baden, 556; Baden-Baden,
515, 556, 635; Barcelona, 165, 333; Bar-
men, 317; Berlin, 13, 22, 37, 54, 87, 102,
119, 135, 149, 165, 183, 198, 213, 230, 247,
263, 279, 292, 317, 332, 359, 377, 402, 451,
472, 484, 522, 531, 549, 570, 591, 635, 643,
663, 695, 728, 746, 762, 779, 794, 809;
Berne, 587; Blankenberg, 279; Bordeaux,
135, 647, 795; Boston, 21, 727;- Bra-
zil, 643; Bremen, 22, 87, 318, 791;
Breslau, 166, 359, 494, 556, 643, 775, 810,
817; Bromberg, 214, 556; Brunswick, 103,
166, 318, 359, 377, 472, 556, 728,
758, 820; Brussels, 23, 102, 118, 165,
180, 198, 601, 794; Bucharest, 631;
Carlsruhe, 332, 472, 728; Cassel, 431;
Chemnitz, 782; Coblentz, 87; Coburg, 22,
747,820; Cologne, 13, 14, 22, 54, 86, 118, 166,
182, 198, 231, 278, 332, 350, 472, 523, 570,
593, 635, 695, 746, 779; Copenhagen, 23,
119, 292; Cracow, 231, 263; Crefeld, 523;
Dantsic, 37, 87, 150, 198, 252, 279, 333,
695; Darmstadt, 23, 54, 150, 263, 377, 442,
747; Dessau, 103, 119, 166, 183, 231, 292;
Dieppe, 523; Dresden, 13, 22, 87, 118, 135,
149, 231, 279, 292, 317,359, 505, 555, 683,
740, 807; Düsseldorf, 279, 317, 402, 484;
Elberfeldt, 13, 333; Elbing, 359, 663; Ems,
400, 522; Erfurt, 13, 135, 214, 523, 811;
Florence, 292, 451, 643; Frankfort-on-the-
Maine, 13, 22, 87, 135, 150, 215, 231, 252;
263, 318, 332, 411, 680, 683, 728, 747;
Genoa, 292, 376; Geneva, 327, 451, 728;
Gera, 103, 695; Ghent, 439; Görlitz, 183;
Gotha, 119, 166, 252, 626, 728; Gratz,

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631; Grau, 135; Halle, 317; Hamburgh,
22, 37, 54, 103, 135, 149, 166, 215, 263, 318,
358, 442, 531, 556, 611, 643, 663, 695, 791,
793; Hanover, 37, 103, 150, 166, 198,
215, 231, 252, 292, 333, 376, 451, 570,
643, 695, 747, 775; Hongkong, 13;
Italy, 377, 411, 442, 473, 491, 507, 522, 595,
611, 728, 746; Jena, 490; Klagenfurth, 570;
Königsberg, 103, 180, 231, 377, 442, 683,
827; Kremsmunster, 474; Laibach, 494;
Leipsic, 13, 21, 37, 71, 102, 119, 150, 182,
214, 231, 252, 349, 359, 377, 451, 503,
531, 570, 647, 682, 728, 747, 755, 762, 785,
795; Lemberg, 231; Liege, 417; Lisbon,
23, 103, 231, 442; Lubeck, 87, 695;
Lubiana, 521; Lucca, 491; Madrid, 135, 694,
Magdeburg, 23, 402, 793; Malaga, 694;728;
Mannheim, 54, 166, 531, 556, 695, 752, 771,
832; Mantua, 293, 317; Mayence, 214, 252,
317, 437, 440, 499, 531, 643, 663, 695, 715,
820; Merseburg, 695; Metz, 448; Milan, 21,
292, 317, 349, 377, 643, 695, 827; Muhlheim,
695; Munich, 13, 54, 166, 231, 263, 333,
359, 377, 410, 411, 479, 523, 601, 664, 695;
Naples, 87, 214, 252, 264, 292, 317, 349, 376,
411, 643, 795; Neisse, 135; New York, 54,
595, 664, 683, 696, 713, 807, 825; Norrköp-|
ing, 570; Ostend, 611, 635; Padua, 807;
Paris, 1, 20, 36, 51, 65, 84, 100, 117, 134,
147, 163, 180, 196, 212, 229, 246, 262, 290,
317, 331, 358, 385, 389, 410, 471, 488, 521,
530, 563, 594, 645, 663, 680, 727, 746, 793,
808, 824, 826; Parma, 411; Pesth, 252, 664,
695; Philadelphia, 713; Posen, 263, 556,
663, 683, 811, 827; Potsdam, 13; Prague,
103, 318, 555; Presburg, 318, 728; Revel,
755; Riga, 728, 755; Rio de Janeiro, 166,
333, 442, 667, 747; Rostock, 377; Rotter-
dam, 54, 214, 358; Saltzburg, 164; San
Francisco, 735; Schaffhausen, 631; Schwe-
rin, 818; St. Petersburgh, 22, 183, 358, 728,
807, 809, 818; Stettin, 231, 451, 728; Stock-
holm, 119, 231, 318, 767; Strasburg, 183,
252, 317, 393, 531, 555, 820; Stuttgard, 13,
333, 664, 747, 795, 820; Trieste, 333, 349,
807; Turin, 103. 696; Venice, 198, 231, 252,
490; Vicenza, 505; Vienna, 22, 37, 54, 71,
86, 103, 118, 135, 166, 197, 213, 247, 263,
279, 292, 317, 451, 531, 794; Viterbo, 694;
Warsaw, 531; Weimar, 87, 118, 359, 394,
514, 663, 695; Wessprim, 552; Wiesbaden,
22, 183, 490, 570, 729; Wurzburg, 13; Zie.
benstein, 611; Zurich, 13, 695.
Fortuni, Mdlle. Agnes, 791
Formes, Herr, 122, 517, 742
French Chanteurs Montagnards, 138
French Benevolent Society, 122

Gallery of Illustration, 375, 832
Galli, Filipo, 28

Garcia, Manuel, 673
Gassier, Madame, 261

General Dramatic Agency and Sick Fund, 300
German Theatre Receipts, 211

Gifts to the French Army in the Crimea, 639
Gloucester Cathedral, 771

Glover, Howard, "Tam o'Shanter," 486, 619
Gluck, 626

God Save the King, 555

Goddard, Miss Arabella, 73, 165, 183, 194,
268, 279, 282, 301, 311, 329, 354, 469, 521,
570, 597, 726
Goldsmidt, Madame Jenny Lind, 34, 161, 547,
807; at Exeter Hall, 835
Gollmick, Herr, 683
Good Taste, 755
Gordigiani, Signor, 417
Gotschalk, M., 514

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Grisi, Carlotta, 835

Grisi and Mario in America, 9, 11, 26, 68, 99
Grisi and Mario's Return to England, 154
Gregorio, Signor, 528
Guedenoff, General, 190
Guernsey, Captain Wellington, 329
Gye, Mr. F., 154, 186

Hale, Mr. W. P., 464
Hallé, Mr. C., 150, 345
Harris, Mr. A., 174

Hawes, Miss M. B., 219
Hayes, Miss Catherine, 60, 116, 219
Haydn's "Creation" and Mrs. Stowe, 78
Heinefetter, Madame Stockl, 502
Hereford Musical Festival, 301, 542, 562 1
Her Majesty and the Theatres, 122
Her Majesty at the French Exhibition, 552
Hill, Mr. H., 282

Horton, Miss P." Illustrative Gatherings," 222
How to take Sebastopol, 458
How to get rid of Recalls, 694
Hummel's, J. N., Account of his own Life, 27
Huerta, the Guitarist, 703
Hummel and Field, 600

Improvement in Church Music, 94
Individuality in Music, 7
International Copyright (England and Bel-
gium), 93

Isaacs, Master, 327

Italian Art in France and Theatrical Journalism
in Italy, 479

Italian Opera at Liverpool, 490

Joachim, Joseph, 34, 755
Joachim, J., and Schumann, Clara, 61
Julie, Mdlle., 792, 806

Jullien, 65, 154, 471, 487, 616
Jullien in the Provinces, 534, 550, 570, 822
Jullien's Concerts, 10, 25, 42, 58, 75, 726, 735,
742, 758, 775, 790, 806, 823
Jullien's Bal Masqué, 822

Keeley, Miss Mary A., 219

Kell, Mr., the Blind Organist, 138
Kemble, Mrs. Fanny, 59, 90
Kidderminster Musical Festival, 679
Krall, Mdlle., 284

Lake, Mr. George, and the Liverpool Organ, 597
Lavigne and Nourrit, 575
LEADING ARTICLES:-

Ander, Herr, 725; Anderson, Mr., 360; An
Organist and Organ Building, 233; A Letter
of Square Toes, 312; Beethoven's Ninth
Symphony and the Examiner, 232; Bennett,
Mr. W. S., and the Conductorship of the
Philharmonic, 788; Benefit Concerts, 121;
Benevolent Fund of the Sacred Harmonic
Society, 184; Best, Mr. W. T., and the
Panopticon, 397; Bishop, Sir Henry, 152,
280, 296, 312; Bennett, Mr. W. S., and
English Composers, 296; Berlioz and Wag-
ner, 379; Birmingham Musical Festival, 433,
532, 596; Cherubini, 104; Crystal Palace
Band, 677; Copyright, 298; Conservatory
of Music at Cologne, 740, 756; Costa, M.,
and Bennett, Mr. W. S., 154; Costa, M.,
Oratorio of Eli, 612; Dearth of Musical
News, 628; Eggis, M. Etienne, and Mendels-
sohn, 501; Ella, Mr. and his Eloquence, 453;
English Opera, 136; Farren, Mr. W., 468;
Grisi and Mario's Return to England, 170;
Harmonic Union, 8, 72, 820; Hereford
Musical Festival, 485; Her Majesty's Private
Band, 201, 216, 218, 232, 248, 345; Italian
Opera (The) in Paris, 532; Il Conte Ory

and L'Europe Artiste, 298; Jullien's Con-
certs, 709, 805; L'Etoile du Nord, 435;
Libel on Jullien and Co., 453; Limited Lia-
bility Bill and English Composers, 486; Lind,
Jenny, 772; Lindley, Robert, the Violon-
cellist, 380; Meeting of the Three Choirs,
433; Mendelssohn's Testimonial, 378; Mario,
Signor, in a scrape, 662; Mendelssohn's
St. Paul, 137; Meyerbeer's visit to England,
396; Meyerbeer's Departure, 484; Meyer-
beer and M. Costa, 517; Meyerbeer's
"Etoile du Nord" and Mr. E. T. Smith, 152;
Monster Organ at Liverpool, 361; Musical
Union (The) and Criticism, 281; Music at
the Crystal Palace, 137; Musicsellers'
Announcements, 153; Musical Festivals and
the Railways, 564; National Opera Com-
pany, 644, 676, 708, 725; New Philhar-
monic Society, 468; Nitocris at Drury Lane,
661; Our Provincial Correspondents and
their Criticisms, 596; Panopticon Organ, 9,
25; Panopticon and Mr. W. T. Best, 396;
Philharmonic Society, 41, 56, 57, 200, 468,
486, 517, 548, 692, 788; Piccolomini, Mdlle.,
821; Praeger, Professor, 328, 361, 397;
Professional Chorus Singers, 24, 40; Rachel,
500, 516, 822; Ratcatcher's Daughter, The,
709; Reach, Mr. Angus, and the Amateur
Performance, 202; Ré-union des Arts, 58;
Rolle, Jean Henri, 105; Royal Italian Opera,
120, 217, 249, 264; St. George's Hall, Liver-
pool, 773; Society of British Musicians,
804; Strakosh, Herr, of New York, 73;
The Conversations with Rossini, by
F. Hiller, 724; The Leader and Signor Verdi,
282; The Morning Post and Verdi, 314;
The Morning Post and Signor Costa, 581;
Three Nightingales, 105; Verdi, 313, 344,
455; Viardot, Mad., and Sig. Verdi's Trova-
tore, 168; Wagner, Richard, 88, 170, 185,
299, 412, 613, 660, 832

Learn to write and don't learn to write, 94
Leave to Play Shakspere, 759

Les Vêpres Siciliennes, 443

Lesueur, Madame, 330

L'Etoile du Nord, 61, 479, 533, 742

Lesueur, The Composer, 650

L'Europe Artiste, 435, 451

Leusden, Mdlle. Anna, 824

Lind, Jenny, 161, 547, 823

Lind, Jenny, and Mr. Mitchell, 824,

831

Lind, Jenny, versus Italy, 778

Lindley, Robert, 393, 464

Liszt, Herr F., 394, 417

Litolff, Henry, 6

Liverpool Philharmonic Society and Mr. Sud-
low, 75

Lohengrin, 225, 242, 257, 277

Lola Montes, 51

Look at Home, 269

Lover v. Davidson, 261

Love's Souvenir, 29

Lucombe, Mr. T., 138

Lumley, Mr., 411

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Mendelssohn Fund, 34

Mendelssohn and the Parisian Critics, 193
Messiah, The, 824

Meyerbeer, 55, 99, 186, 227, 435, 458, 464,
473, 483, 484, 487, 515, 529, 552
Minasi, Mr. Antonio, 778
Minnie, 533

Mitchel, Mr., and French Plays, 138
Modern Literature, 668

Morning Concerts (in 1750), 138
Movement in C (Division), 490
Mozart's" Don Giovanni," 718, 738, 752, 767,
785, 802, 814

Mozart Institution, The, 487
Muller, Mr. Robert (Death of), 602
Murray, Mr. E., 806

Murray, Mr. and Mrs. Leigh, 711
Musicians should study Intercourse, 731
Music in Holland, 66

Music wedded to Drama, 727
Music in the Provinces, 21
Music laid on like Gas, 55
Music of the Political Spheres, 55
Music of the Tartars, 139
Musical Festivals, 629
Musical Gossip, 694, 711, 725

Nau, Mdlle., 533

Negri, Signor, L., 381
Newcombe, Mr., 434

New Philharmonic Society, 94, 250
News for Sims Reeves, 342
New Arrivals, 277

Ney, Mdlle. Jenny, 233
Nicholson, Mr. (organ builder), 607
Nisbett, Mrs., 455
Non Poma Natamus, 635
Norton, Mrs., and Rachel, 521
Norwich Musical Festival, 575, 742
Notice, 832

Nourrit and Lavigne, 575

Obituary, 104, 120, 200, 612, 772
Odoardo e Cristina, 705

Of the Abuses of Music, 736
Opera at Drury lane, 641
Opera Bank of England, 490
Opera and Drama, by Richard Wagner, 307,
322, 339, 355, 372, 391, 407, 437, 445, 461,
481, 496, 510, 526, 545, 566, 575, 599, 608,
631, 638, 654, 674, 697, 706, 722, 736, 751,
770, 784, 801, 819

Opera and Drama in Germany, 602
Opera and Orchestra, 156

Organ, 35, 82, 84, 130, 236, 584, 594, 659,
677, 715, 744

Organ, opening a new one at Clayton, 731
Organ of St. George's Chapel, Windsor, 798
Original Letter of Jenny Lind, 252
Osborne, Mr. G. A., 261

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Amersham, 807; Armagh, 499; Atherstone,
92; Barnsley, 125; Bath, 23; Belfast, 167
Birkenhead, 286; Birmingham, 53, 167,
271, 333, 385, 442, 558, 574, 579, 664, 761,
792; Blackburn, 38, 321, 807; Bodmin,
286; Bolton, 807; Boroughbridge, 729;
Bradford, Yorkshire, 125, 267, 569, 579,
745, 792; Bramley, 745; Bredon, 269;
Bridgnorth, 825; Brighton, 188, 199, 215,
666, 712, 745, 792, 822, 837; Bristol, 38;
Carmarthen, 199; Cheetham, 826; Chelten-
ham, 103, 140, 151, 253; Chorlton upon
Medlock, 215; Clayton, 569; Clifton, 183;
Coalbrookdale, 793; Coventry, 807; Croy-
don, 437; Derby, 349; Dewsbury 270,
825; Dover, 125, 570; Dublin, 13, 91, 151,
252, 348, 406, 437, 448, 610, 677, 702, 712,
760, 806; Dudley, 349, 569; Durham, 650,
807; Edinburgh, 71, 124, 140, 737; Eve-
sham, 295; Folkestone, 125; Glasgow,
761, 825; Gloucester, 53, 664, 729, 793;
Gravesend, 23, 140, 295; Greenwich, 28,
711; Hackney, 826; Halifax, 124, 125,
694, 745, 825; Harrow-on-the-hill, 269;
Hereford, 252, 543, 562, 711; Huddersfield,
151, 650, 793; Hull, 140, 569; Kidder-
minster, 569, 679, 694; Kirkburton, 745;
Knaresborough, 23; Leamington, 124;
Leeds, 13, 23, 38, 53, 91, 125, 188, 215,
270, 286, 570, 578, 598, 650, 664, 682, 729,
745, 778, 792, 793, 807, 826; Leicester,
91, 252, 295; Lichfield, 318; Liverpool,
12, 23, 70, 125, 141, 151, 166, 188, 238,
269, 285, 318, 385, 490, 534, 551, 568, 570,
649, 664, 694; Maidstone, 38; Manchester,
12, 23, 37, 70, 109, 141, 151, 166, 215, 237,
269, 348, 498, 507, 538, 550, 569, 578, 603,
635,664,729,761,778,792,807,837; Margate,
167; Melbourne, Australia, 771; Merthyr,
38, 459; Newark, 442; Newcastle-on-Tyne,
157, 575, 665; Northampton, 592; Nor-
wich, 167, 575; Nottingham, 761; Oldham,
92; Otley, 807; Oxford, 167, 237, 761,
807; Penistone, 295; Plymouth, 29, 167,
199, 807, 837; Pocklington, Yorkshire, 53;
Pontefract, 92; Preston, 286; Reading,
151; Reigate, 270; Ripon, 23; Rochester,
71; Rugby, 188; Scarborough, 517; Shef-
field, 53, 109; Shrewsbury, 12, 188, 252;
Southampton, 167; Staffordshire Potteries,
592; Stamford, 295, 600; Stratford, 295;
Stretford, 92; Sunderland, 682; Swindon,
761; Sydney, 164, 631; Thirsk, 38; Ton-
bridge, 490; Uttoxeter, 92; Uxbridge,
793; Weymouth, 23; Whitby, 71, 109;
Whitehaven, 274; Wolverhampton, 125,
729, 778; Worcester, 23, 38, 53, 91, 109,
125, 238, 252, 269, 286, 327, 570, 650, 807;
Worthing, 579; York, 124, 321.

Queen (The) and the Pianoforte Makers, 671
Rachel and the Marseillaise, 702
Rachel, Mdlle., 81, 231, 395, 512, 517, 521,
523, 531, 533, 628, 639, 664, 711, 825.
Reactionary Letters, 19, 44, 49, 69, 81, 99,
113, 129, 146, 162, 179, 195
Reed, Mr. and Mrs., 835
Reichardt, Herr, 229, 261, 835
REVIEWS:-

Allen, G. B., 321, 450, 549, 598, 658. Andrews,
R., 477. Andrews, Mrs. J. H., 787. Ascher,
J., 467. Bagge, T. J., 787. Baker, T., 467.
Barker, G., 39. Barrow, W,, 467. Bartho-

lomew, Mrs. Mounsey, 730. Baynham, T.
759. Beddoe, A., 730. Benedict, Jules'
450, 810. Berger, F., 467, 477, 787, 788'
810. Best, W. T., 431. Borrow, W., 11
Braine, W. R., 477. Brooks, W., 787
Browne, Corporal J., 431. Campana, Signor
55. Cheshire, J., 776, 787. Chipp, E. T.'
467. Christine, Louise, 11. Clinton, J.
431. Cole, J. P., 787. Compton, C. H., 39
Conversations on Harmony, 743. Costa's
Signor, Portrait, 523. Crowdey, F., 477
Cusins, W. G., 467. D'Egville, Louis, 825
Engel, 836. Douglas, J. P., 321. Dunstan'
J. M., 11. Durner, J., 787. Egghard, Jules'
29. Ellerton, J. L., 787, 810. Ewer, Carl,11
Fitzwilliam, F., 743. Fowle, T. L., 431, 477
Gilbert, B., 477. Glover, C. W., 55. Goll-
mick, A., 236, 759, 810. Guglielmo, P. D.
810. Gumbert, F., 91. Gungl, J. 477,
Händal, 235. Hatton, J. L., 450, 810. He-
mans, Mrs., 450. Hempel, C. F., 39, 743.
Hills, John, 11. Holloway, A. S., 759.
Holmes, E., 810. King, R., junior, 787.
Kruger, 743. Kucken, F., 91. Langen, Ma-
thilde, 450. Laurent, H., 759. Leslie, H.,
39. Lichtenstein, G., 29, 743. Lindpaintner,
P., 29. Lindridge, G., 39. Linley, G., 321,
450, 730. Longden, W. G., 730. Lowe, J.,
776. Macfarren, G. A., 321, 450. Mackay,
C., 343, 730. Manns, 837. Maynard, Walter,
450. Matthey, A., 39. Mendelssohn, 431, 731.
Minasi, Antonio, 743. Molique, B., 29, 825.
Moore, C., 91. Mori, F., 321. Mudie, T. M.,
810. Naumann, T. W., 743, 759, 776, 788.
Neate, 836. Oberthür, C., 787. Orpheus, 776.
Oury, Madame, 450. Palmer, Miss, 743.
Philp, Miss E., 236, 825. Prout, T. J., 730.
R. G. E. L., 39. Rea, W., 787. Richards,
Brinley, 776. Robinson, Mrs. Joseph, 467.
Royal Midlothian Yeomanry Galop, 743.
Russel, G., 730. Salaman, C., 477. Scars-
brook, T., 236. Schallehn, H., 477.
Schloesser, A., 467. Schultz, E., 91. Sewell,
J., 477. Sieber, F., 29. Silas, E., 450.
Sloper, 836., Smith, G. T, 39. Stanley,
G., 431, 467. Stella, Alfred, 776. Stret-
ton, G., 321. Szcepanowska, Julie de,
730. T. M. J., 467. Talexy, A., 759. Til-
leard, J., 39. Verdi, G., 730. Wagner, R.,
290. Wallace, W. V., 730. Williams, S.,
810.

Richards, Mr. and Mrs. Brinley, 35

Ristori, Madame, 533, 677

Roberts, Mr. Richard, 455

Robinson, Mrs. Joseph, 443
Roger, M., 14

Ronconi, Signor and Madame, 52
Ronconi, Signor, 282, 268
Roqueplan, M., 662

Rossini, 507, 647, 835

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Take that Girl away, 155. Crown Diamonds,

Salaman's, Mr. Charles, Musical Lectures, 26 Lyceum.-Too much of a good Thing, 123.
38, 150, 174, 311, 394, 711
Sale of old Violins, 277
Schott, J. J., 119

Schumann, Madame Clara-Wieck, 154, 755
Scraps from an Amateur's Common-place
Book, 61, 76, 93, 119
Scribe, 473

Sivori, Signor, 502

Sick and Wounded at Scutari, 225
Singing and Moustachios, 440
Smith, Albert, Mont Blanc, 285, 791
Smith, Mr. O., Death of, 89
Smith, Mr. G. Townshend, 711
Sontag, Madame, 116

Spark, M., Presentation of a Testimonial to,

190

Spontini, 642, 655, 672, 690, 707
Stabbach, Miss, 10
Steggall, Dr., 471, 742
Stanley, Miss Emma, "Seven Ages of Woman,"
806

Stolen Music Paper, 55
Stoltz, Rosina, 4

St. Matthew's Church, City Road, 629
St. Marc, Mdlle., 266

St. George's Hall, Liverpool, 295, 318, 547,

648

Subscriptions for 1856, 832
Sunday Music, 688

310.

Marylebone, Leon of the Iron Mask, 90.
Olympic.-Louis XI., 35. Angus Reach's
Benefit, 220. The Welsh Girl, 295. School
for Scandal, 440. Mr. Robson's Benefit,
448. Five Pounds Reward, 791, Pantomime,
835

Princesses.-Louis XI., 44. Henry VIII, 310.
Sadler's Wells.-Lyceum Company, 235. Mr.

Webster and Madame Celeste, 295. The
Hunchback, 602. Hamilton of Bothwell-
haugh, 693.

St. James's.-Mrs. Seymour's management.-
Clarisse-Art, 123. La Czarina, 155. M.
Levassor, 377. Mdlle. Rachel, 499, 515.
Strand.-Mr. Leighton Walter's début, 60.
The Cricket on the Hearth, 189. King
Queer, 235. Mr. Stirling's Benefit, 747.
Daughter of the Regiment, 286. Miss Julia
Bleaden, 295. Sally Smart, 342. Miss
Rebecca Isaacs's Benefit, 451. The Heir-at-
Law, 667. Burlesque on Nitocris, 693.
Soho.-Italian Opera, 742. Lucia, 757.
Surrey. Mr. Phelps, 295.
342. Love Chase, 342.
The Wife, 629.

Lady of Lyons
Sonnambula, 440

Theatricals at San Francisco, 735
Theatricals in Australia, 771

Surrey Zoological Gardens, 375, 435, 470, 487 The First Singer going-not gone, 602
Swiss Ranz des Vaches, 817

Tamberlik, Signor, 774
Ternan, Miss Fanny, 295
Thalberg, 571, 774, 817

THEATRES.

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Adelphi.-Janet Pride, 90. La Bayadère, 108.
New version of Valentine and Orson, 731.
Mr. Webster's return, 791. Pantomime, 835
Covent Garden, Royal Italian Opera.-II
Conte Ory, 233, 249, 264. Fidelio, 249,
264, 283. Ernani, 265, 283. L'Elisir
d'Amore, 283, 293. Il Trovatore, 293, 309,
329, 383, 415, 435. Le Prophète, 502, 518.
I Puritani, 309, 329. La Favorita, 329,
435. Norma, 346, 364. Don Giovanni,
346, 364. Huguenots, 364, 502.
Barbiere, 383. L'Etoile du Nord, 469,
487, 502, 518. Eva, 264, 283, 329. Don
Pasquale, 415. La Vivandière, 415. Otello,
518. Resumé of the Season, 518.
Pantomime, 774, 835
Drury Lane.-L'Etoile du Nord, 139. Open-
ing of the Royal Opere, 232. La Sonnam-
bula, 250, 310. Il Barbiere, 265, 283.
Les Cosaques, 267. An Impudent Puppy,
727. Mr. Aguilar's Benefit, 283. Don
Pasquale, 293. Amateur Performance be-
fore the Queen, 301. Norma, 342. Lucia,
365. Lucrezia Borgia, 365. Malle. Pal-
myra, 365. Terpsichore, 377. Miranda,
440. Donna del Lago, 440. Madame Gassier's
Benefit, 448. Bohemian Girl, 482. Nitocris,
667. Mr. C. Mathews, 667; Pantomime, 835

140.

The

Haymarket.-Romeo and Juliet, 74, 285. Guy
Mannering, 108. The Spanish Dancers,
Fra Diavolo, 266. Bohemian Girl,
285. Actress of Padua, 295. Lucia, 310.
Lady of Lyons, 363. Berta, or the Gnome of
Hartzberg, 365. Sims Reeves's Benefit, 411.
Busy-body, 440. Wife or no Wife, 482.
Miss Blanche Fane in "Court Favour," 556.
Olympus in a Muddle, 556. Mr. and Mrs.
Sims Reeves, 219. The Sultan, 629. The
Little Treasure, 667. The Beginning and
the End, 713. Mr. Buckstone's Return,
791; Pantomime, 835

The Grand Opera in 1713 at Paris, 603
The Messiah and the Creation, 126

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SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order, to BOOSEY & SONS, 28, Holles Street, Cavendish Square.

VOL. 33.-No. 1.

NOTICE.

SATURDAY, JANUARY 6, 1855.

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PRICE 4d,
STAMPED 5d.

driving back the countless Huns of the new Attila of the North. Surely at such a time, when

"All the youth of England are on fire,

And silken dalliance in the wardrobe lies;
When thrive the armourers, and honour's thought
Reigns solely in the heart of every man,"

a short digression is pardonable, and some expression of
feeling, however weak, is permissible, in honour of those but for
whom music and the kindred arts might be numbered with the
dead. Let the Musical World and its readers-all unpolitical as
they are-join in the chorus of praise and thanksgiving to that
band of brothers, French and English, to whom they owe the
peace and comfort of their hearths, the glory of their country,
and the preservation of those arts which distinguish the man
from the brute, the English or Frenchman from the Cossack and

the Muscovite.

The past week has been marked by more than a usual amount

of novelty in the musical world of Paris, and, as the Emperor
and Empress honoured with their presence last Saturday the
first representation of Verdi's opera of Il Trovatore, I will begin
with the Italian Opera. The production of this work for the
first time here excited a considerable amount of curiosity, and
the house was full to suffocation. The music is in Verdi's usual
style; the brass instruments roar so as to endanger your
tympanum, and in one chorus the orchestra is assisted
by a band of blacksmiths, who with large hammers
enormous anvils.
perform an ad libitum accompaniment on
What more could the most strenuous admirer of energetic
music require? Signor Verdi, however, has been happy
in the artists who introduced his opera to a Parisian
audience. Signor Baucardé made his début on our stage as the
Troubadour, and achieved an unquestionable and well-deserved
His first song behind the wings obtained great ap-

success.

Paris, December 26th, 1854. ONCE more in annual rotation has Christmas returned to gladden the hearts and humanise the feelings of all good Christians on either side the Channel. Yule logs and sea-coal fires in London-midnight mass and solemn service in Paris; roast beef, plum-pudding, turkeys, and other solid comestibles with you―étrennes, bonbons, and all sorts of prettinesses here. And yet is the heart saddened and the eye dimmed in many a household and by many a hearth of merry England and light-plause, and his voice is flexible, vigorous, and sweet. He acts with hearted France. How few have not lost some old familiar friend judgment and discretion, and now that Mario has disappeared, or some dearer relation, in the perils by water and the perils by (at least for a season), and tenors are scarce, Signor Baucardé is fire, in the din of battle, or by the pestilence that walketh in a most valuable acquisition to the Italian lyric stage. Let Mr. darkness. Mourning for the dead, fear for the living, temper Gye look to him. Madame Borghi-Mamo, as the Bohémienne, the mirth and festivity of this happy and holy season. shewed herself a good artist and an accomplished musician.' thoughts of all, from the monarch to the peasant, are with Her voice is clear and well-toned; her style pure, and her vocalithose sation excellent. One of her airs was unanimously encored, and ́ the whole of the music received ample justice at her hands. Madame Frezzolini is not so young as she was some few years since; and her voice, mellifluous and clear in the upper register, is wanting in the lower notes. She acted the part of Leonore in a most impassioned spirit, and showed all her well-knownability both as actress and vocalist. In the fourth act she was much applauded, twice recalled, and loaded with bouquets. Sig. Gassier filled a small part with judgment and discretion, and Sig. Graziani astonished all the house, and probably himself as

and those

"Brave hearts, to Britain's pride
So faithful and so true;"

The

"Cull'd and choice-drawn cavaliers of France,”who in storm and tempest, in privation and sickness, are fighting the battle of the weak against the strong, the right against the wrong-doer, the oppressed against the oppressor; who, regardless of numbers and heedless of odds, are defending the cause of civilisation against barbarism, and by their undaunted bearing

much as any, by displaying great powers as an actor; in many scenes he exhibited strong indications of possessing no small portion of the genius of Ronconi. Du reste, the opera was mounted in magnificent style and at lavish expense. Nearly the whole of the action takes place at night, and the libretto is more obscure than the time it represents. M. Ragani, however, determined that no material aid should be wanting to success, and accordingly gave unlimited orders for new grottoes, decorations, palaces, gardens, dungeons, cascades, and a new moon which had never done business elsewhere, and played a most important part on this occasion. The orchestra, under Signor Bonetti, was above all praise; the choruses excellent. Finally, Signor Verdi, who had personally superintended the rehearsals, was called for three times, and honoured by receiving a bouquet thrown by the fair hand of the Empress herself. I trust this opera may be the means of turning the tide in M. Ragani's favour, for until now he has had a most sorry season, and must have been a heavy loser by his operatic speculation,

Madame Ugalde made her rentrée at the Opéra-Comique on Saturday, in Galathée. She met with a most favourable reception from a very full house, and was unanimously encored in the Bacchic song of the second act. She displayed all those qualities, as actress and vocalist, which have so deservedly made her a favourite with the Parisiau public, and all the world is delighted to see her return to her old house at the pleasant little OpéraComique. She will enable Caroline Duprez to get an occasional rest from the fatigues of L'Etoile du Nord, which shines as brightly as ever.

Our first masked ball at the Opéra also took place on Saturday, under the direction of M. Strauss. The performance commenced at ten o'clock, with the production by the orchestra of several pieces from the "Album Strauss," and at twelve o'clock dancing began. The house was more full than select, and, indeed, it was difficult to say whether the orchestra or the company were most noisy. Each seemed engaged in a perpetual attempt to drown the other, and the result was the production of sounds more loud than mellifluous.

Madlle. Sophie Cruvelli has been suffering from a severe domestic affliction, and did not sing for ten days until Wednesday last. She then again appeared in Les Huguenots, and with the invariable result of a house crammed to the roof by an audience who hardly know how to testify their rapturous applause. During her absence, La Muette de Portici was played four times, but neither singers nor mime made any advance in public estimation.

In constructing the libretto of Le Muletier de Tolède, the ingenious and accomplished authors, Messrs. Dennery and Clairville, seem to have taken the measure of their composer and to have written to order. There is literally not a new situation or a scintilla of originality in the whole piece, which is a mélange of Le Jeu de l'Amour et du Hasard, Les Diamans de la Couronne, and Jean de Paris. The authors themselves admit this, and one of the characters informs the audience of their palpable plagiarisms. You shall judge for yourself,-here is the plot. The Queen of Leon has been chosen as the future wife of the Infante de Castille, and hearing that the latter is desirous of seing his intended before completing the match, and has disguised himself as a peasant for that purpose, she, in her turn, assumes the dress of a Spanish peasant girl, and sets out on her travels to discover her disguised lover in posse. One of her maids of honour, attired in like guise, alone accompanies her; but, arrived at the first posada, they are attacked by a

band of roysterers, who admire their pretty faces, and desire a more intimate acquaintance. They are rescued by a muleteer gaily attired and courteous in bearing, who drives off the molesters and rescues the ladies. The Queen is convinced that the muleteer can be no other than the disguised Infante, and without discovering her incognito thanks him for his services. At the next venta they have to deal with men of a different class, but of similar tastes. Don Pedro, cousin of the Queen, who has sworn to marry her, or cause her abdication, is drinking with a choice lot of boon companions. At the sight of the two pretty maidens they take them by the waist, and are about to proceed to further extremities, when the muleteer (the deus ex machinâ) again appears, again rescues them, is again thanked by the Queen, who again preserves her incognito, and (still disguised) places herself under the protection of Don Pedro: whereupon the first act ends. The second act opens in the palace of the Queen, who, in full regal attire, is seated on her throne. The courtiers pass before her, and a door is thrown open, through which the more common herd are allowed to enter and make an obeisance to their sovereign, Among the rest the muleteer comes forth, and the Queen recognizes and is charmed with him. Don Pedro, also, is there, and, having instructed one of his accomplices to carry off her majesty when she leaves the palace, is overheard by the muleteer, who informs the sovereign, and she thereupon directs her camerara-major to take her place in the carriage, while she remains at the palace to watch the conspirators. Don Pedro's plan is to bring forward the young peasant who has placed herself under his protection, and who so closely resembles the queen, to place her on the throne and procure her signature to an abdication, while the true queen is kept in confinement. Meanwhile, the Queen has again assumed her peasant dress, the muleteer is again at her side and makes protestations of love, which she, supposing him to be the Infante, readily accepts. They are surprised by Don Pedro, who is confused between the peasant and the Queen, and knows not whether the lady before him be one or the other, or both. He knows, however, that the muleteer is not the Infante, and thinks that if the lady be really the Queen she will be as thoroughly lost by marrying a muleteer as by any other process. The Queen accepts the proposal with joy, and the marriage takes place: which ends Act II.

Returned from church, the Queen thinks it time to put an end to the comedy. "Now then," says she to the muleteer, "you have played your part admirably, but it is time for the muleteer to give place to the Infante." "I am not the Infante, replies he, "that gentleman is a married man." The Queen bursts into tears; the muleteer is delighted; he is loved for himself alone. "No," says he, "I am not the Infante, I am the King !"

End of Act III.

Thus much for the libretto, which, though far-fetched and borrowed, is not wanting in situation. The music of M. Adolph Adam has been sought from sources as various, and frequently as well known, as the words of Messrs. Dennery and Clairville. Though they have not drawn on their imagination for their plot, he most certainly has tasked his memory for his music. Worn out Spanish boleros, stale French airs, and old-fashioned English melodies, have supplied his inspiration. To him every fountain is Castalian, provided it be not dry, and no matter how often it has been drained and dirtied by previous composers Even his admirers admit that the Muletier de Tolède is inferior to Le Bijou Perdu, and declare that no air will have the success of "Les Fraises." The overture is weak and trashy, being

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