expressing themselves, 701. Norwich Fes-
tival, 590. Novello, Madame Clara, 604,
749. Operas and Librettos, 588, 604. Opera
Competition and Singers (Revue des Théâtres),
414. Opera House, the new one in Paris,
415. Pantagruel, Panurge, &c., 45, 93,
125, 141, 157, 175, 189, 205, 222, 237, 253,
270, 285, 302, 318. Philharmonic Society,
252, 684, 702, 764. Pianoforte Composers
and Pianoforte Music, 509. Piccolomini
Testimonial, The, 254, 272. Punch and the
Technical Terms in Music, 654. Religious
Tinge and Light Literature, 46. Ries,
Schmidt, Marschner, Reissiger and Kufferath,
526. Robson, Mr. F., 399. Rossini's Se-
miramide at the Paris Opera, 412. Rousseau,
Jean-Jacques, 623. Royal Italian Opera
Prospectus for 1860, 221. Russians at
Home, The, 413. Sacred Harmonic Society,
767. Saturday Review and Le Duc Job, 62,
Scotchman, The, 732. Scraps from Abroad, 716. Season of Song, The, 190. Singers' Salaries, 541. Smith, Mr. E. T., and his English and Italian Operas, 814. Smith, Albert, reappearance at the Egyptian Hall, 28. Smith, Albert, Death of, 334. Society for the Encouragement of the Fine Arts, 76, 350. So- ciety for the Relief of Literary Men in Russia, 382. Summer is icumen, 174. The lowest thing ever done in Music, 110. The Opera in France, 573. The Sonata, 572. The Art of Music, 636. The two English Opera Houses, 637. Theatrical Licenses, 717. Tomaschek, Worsichek and Berger, 557. Vienna Opera, The, 781. What has become of the Ballet, 814. Wright, Mr. Edward, Death of, 9. Yates (the late Mrs.), 590. Leeds Musical Festival (for 1861), 592, 610 Liberator and Leveller, The. (Illustrated Times), 627
Lind (Jenny), 6$6: Lola-Montez, 483, 505, 546
London Concert Season (Niederrheinische Mu-
London Glee and Madrigal Union, 823
London Royal Yacht Club, The, 111 Longfellow and Mr. G. B. Allen, 531 Lumley, Eliza, 514
Macfarren's Robin Hood, 665, 686, 703, 714
Mark, Dr., College of Music, 447
Mathematical Theory of the Minor Scale, 539
Mathews, Mrs., "Friend for the Fireside," 296
Marchesio, the Sisters, 704, 786
Mayhew, Horace, a Letter to, 777, 809
Mendelssohn, A., Letter of, 104
Mendelssohn's, Elijah, at the Crystal Palace, 327
Mendelssohn and Beethoven's Symphony in C
Minor, 329
Meyer, Leopold De, 320
Meyerbeer, 490, 594, 650, 671, 690, 704,
Molique's Abraham (Morning Post), 623, 685 Molique, Herr, the Norwich Festival, 762,
Mozart's Impresario, 554
Mozart Child and Man, 112, 178, 194, 258, 306,
321, 339, 353, 369. 411
Mozart and Jeliotte the Singer, 329
Musical Pitch (Athenæum), 609
Musical doings in London (Vienna Recensionen),
Music at St. Helliers, Jersey, 515
Music in France (Athenanm), 609
Music in the South Seas (Dwight), 499
Music in Germany, 610
Musical Festival in Durham, 189
Music and Mystery (Punch), 23
Music and Theatres in Paris, 22, 43, 59, 72, 90,
121, 144, 160, 172, 209, 219, 243, 267, 299,
375, 391, 423, 439, 455, 471, 487, 509, 519,
535, 552, 568, 590, 602, 619, 647, 680, 712,
743, 759, 807
Music at Brussels, 344, 625
Music in Russia, 440
Musical Society of London, 363, 430
Music and Devotion, 465
Music and the Drama at Sydney, 466
Music by Kingsley, 547
My Church, 522
New School of Dancing Music (Haydn, Wilson),
New Theatre at Leeds, 573
Norfolk and Norwich Musical Festival, 171 461, 507, 538, 554, 562, 575, 615, 631 Nourrit (Adolphe), Letters to F. Hiller, 648 Novello, Madame Clara, 265, 281, 328, 363, 376, 442, 263, 673, 674, 746
Of the Relation and Progression of Chord, 699
Opening of the new Harmonium, Malew, 79
Operatic Music in Germany, 578
Opera at Crystal Palace (Punch), 363
Opéra Comique, the History of (le Ménéstrel),
543, 607, 663, 719, 729, 759
Orpheonists (The French) in London, 155, 272,
386, 400, 415, 416, 335, 443, 450
Organs and Organ Players (Punch), 778
Organ (The) York, 577
Organ (The) by Joseph Regnier, 510, 600, 744
Organ and Organists- Churches and Clergy-
men, 491
Organ (The definition and description of the),
Organ Reed Stops, 345
Organ at St. Mark's Church, Kennington, 128 Organ at York Minster, 218
Organ at Godmanchester Parish Church 379 Organ at Manchester Cathedral, 242, 249, 815 Organ at St. Paul's Cathedral, 311 Organ at Mellor Church, 314 Organ at All Saints, Bolton, 314
Armagh, 815. Barnsbury, 159, Bath, 24.
Belfast, 64, 96, 218, 272, 283, 402, 673, 706,
721. Berkhampstead, 723. Birkenhead,
160. Birmingham, 11, 65, 219, 257, 339,
Bradford, 632. Brighton, 104, 753, 782, 801.
Bristol, 24. Bury (Lancashire), 12. Cam-
bridge, 385. Chatham, 283. Colchester, 12.
Cork, 739. Deptford, 654. Dover, 168.
Dublin, 43, 79, 129, 160, 283, 298, 419, 721,
738. Dundee, 105. Durham, 140, 682,
Edinburgh, 25, 129, 170, 187, 218, 815.
Epping, 578. Exeter, 281, 802. Falkirk,
257. Glasgow, 12. Gloucester, 160, 802.
Grantham, 547. Greenwich, 79. Hor-
bury, 513. Hull, 682. Ipswich, 754.
Kiddermin ter, 235. Leeds, 105, 203, 218,
235, 513, 531, 642, 704, 754. Leicester, 79,
203, 683. Liverpool, 48, 128, 160, 257, 282,
513, 619. Maidstone, 129, 283, 824. Man- chester, 11, 24, 235, 353, 610, 673, 682, 754. Newcastle, 718. Norwich, 64. Oxford, 170.
Peckham, 672, 722. Peterborough,
235. Penrhyn, 769. Plymouth, 546, 704.
Richmond (Surrey), 353. Ryde, 12, 673. Scarborough, 451, 483. Shrewsbury, 75. Swansea, 331. Tunbridge, 25. Wakefield, 64. Windsor, 12, 24, 112, 782, 783. Wood- ford, 298. Worcester, 12, 738. York, 129,
Poole, Miss, 778
Porpora and Caffarelli, 435
Price's, Captain Morton, Entertainment, 769.
Potter Testimonial, 47, 396, 424
Presentation to Rev. Dr. Miller, Belfast, 611 Professional Singing in Churches, 544, 570 Punch and the new Musical Pitch, 671 Public Exhibition of the "Apollo and Marsyas" at Milan, 225
Organ at St. Michael, Cornhill, 361
Organ at Cottingham, 402
Organ at Brunswick Chapel, 432
Organ at St. Paul's, Dublin, 514
Organ at St. Ignatius, Manchester, 770
Organ for a Chamber, with German and Eng- lish scales of pedals, 232
Organist Election, Town Hall, Leeds, 78, 273, 335, 363, 433.
Organist Election, St. Mary's, Aldermanbury,
Organist Election, Thirsk, 296
Organist Election, Christ Church, Marylebone, 379
Ousely, Sir Gore, in Yorkshire, 104
Paine, Mr. John K., 475
Partant pour la Syrie, 626
Paul, Mr. and Mrs. Howard, Entertainment, 41, 255
Philharmonic Society Meeting, 224.
Phillips, Lovell, Death of, 207
Phillips, Henry, 431
Beddoe, Alfred, 535. Benedict, Jules,
471. Berger, Emile, 21. Berger, Francesco,
263, 567. Boosey's Musical Cabinet, 711.
Borschitzky, J. F., 535. Burckhardt, C., 423.
Callcott, 55. Campana, F., 151.
Chater,
W., 119. Chopin, 199. Clark, F. Scotson,
167, 247, 263. Cobham, M., 215.
Doran,
Dr., 55. Dussek, 183. Enderssohn, M.,
Forbes, G., 215. Gabriel, Virginia, 55.
Godefroid, Felix, 21.
Grenier, J. de, 231.
Hatton, J. L.,
Gollmich, A., 247.
Guernsey, Wellington, 567.
87, 215, 263. Hauptmann, C. F., 87, 167;
Heller, Stephen, 551, 670, 695. Henniker,
H. F., 247. Hills, W. (Songs of Beet-
hoven) 71. Holst, M. Von, 311. Hul-
lah's " Singer's Library," 295. Julien's
last Waltz, 305. Kiko, M., 295. Lacy,
Rophino, 232. Leftwich, H. T., 55.
Linley, G., 231, 535. Loder, E. J. (The
Night Dancers), 727. Loder, E. J., 151.
Lubech, E., 343. Luders, C., 567. Lutz,
W. Meyer, $43. Macfarren, G. A., 167,
232, 695. Malmene, W., 535. M'Ewan,
J., 167. Meyerbeer, 216. Minasi, Antonio,
695. Moore's National Airs, 3, 87. Morgan,
W., 232. Mudie, T. M., 167, 695. Mc
Korkell, C., 344. Noorden, P. Van, 231.
Nordmann, R., 215. Orpheon, The, 87.
Osborne, G. A., 151. Ould, Edwin, 535.
Psalmodia, Simplex et Selecta, 21. Raikes,
279. Randegger, A., 215, 264. Rée, An-
ton, 567. Regondi, Giulio, 167. Richard-
son, J. E., 87. Richards, Brinley, 167, 247.
Robinson, Joseph, 232, 343. Ross, R., 87,
343. Rubinstein, A., 247. Sampson, Mrs., 231. Schlösser, A., 344. Schulthes, Smart, Henry, 103, 167, 215. Smith, W. Seymour, 167. Sudlow, W., 344. Taylor, Bianchi, 55. Wallace, W. V., Lurline, 135. Walker, W., 232. Weisbecker, C., 535. Woelf, 183.
Rellstab, Herr, Funeral of, 803,
Reynolds, Sir Joshua, 547
Ritter, Theodore, at the Philharmonic ( Times),
400
Rome, Philharmonic Society, 824
Rossini and his Imitators, 530
Rossini's Semiramide, by Méry, 472, 505
Rossini's Last, 667
Royal Society of Musicians, 152
Royal Academy of Music Scholarship, 811
Rubinstein, A., 335, 351
Smith, E. T., and his management, 494
Society for the Encouragement of the Fine
Arts, 5, 283
Some Heresy from a True Believer, 547
Spark, Mr. W., and Sir Gore Ousely's Testi-
monial, 562
Spohr's Letters, 120, 177, 249
Spohr and the Violin, 811
Spohr, how he learnt the Horn, 162
Spohr, Passages from his Life, 233
Spontini, 527
Stabat Mater, Sedebat Pater (Punch), 427
Strauss, Herr, the Violinist, 400
Stage and Pulpit, 745
Stanley, Miss E., Entertainment, 703
Strong Prejudice, (Haydn Wilson) 433 Stuntz, J. H., Death of, 456 Sullivan, Arthur Seymour, 434
Testimonial to Mr. A. Finlayson (Bad- wood's), 26
The Philosophy of Music (by Joseph God- dard), 791
The Enterprising Impresario, 777, 792, 808.
The Concert Season, 520
The largest Concert Speculator in Brighton,
The Nine o'clock Bell, 498
The Yankee Opera in difficulties, 681
Theatricals at Windsor Castle, 25, 49
Theatricals at Campden House, 169
THEATRES :-
Adelphi.—It's an Ill Wind that Blows Nobody
Good, 382. Family Secret, The, 383. Janet
Pride, 561. Bluebeard, from a new point of
Hue, 828
Bijou Theatre (Her Majesty's.-Amateur Per-
formance, 689. French Plays, 719, 747
Covent Garden." Romance," 78. Marriage of
Georgette, 768. Lurline, 127, 641. Bianca,
784. Close of the Season, 190. Dinorah,
672. Crown Diamonds, 687. Trovatore, 688.
Rose of Castille, 719. Night Dancers, 735.
Bluebeard, 828
Drury Lane.-A Story of the, '45,796. Maritana
(Conductor, Dr. James Pech), 241. Benefit
of the Family of Robert Brough, 489. Mr.
and Mrs. Mathews' Engagement, 688, 769.
Peter Wilkins, 828
Haymarket.-Love Chase, 688. Lion Slayer,
752. Queen Ladybird, 828
Her Majesty's.-Almina, 273, 287.
320, 383, 392, Don Giovanni, 287, 296,
351, 392, 672. Ernani, 362. Fleur des
Champs, 240. Favorita, 240, 477. Hugue-
nots, 362, 705. Lucia, 392, 477. Lucrezia
Borgia, 273, 287, 338, 687. Matrimonio
Segreto, 410. Marta, 240, 752. Norma,
296. Oberon, 426, 477. Otello, 255, 287
Prova d'un Opera Seria, 392. Rigoletto
$20, 339. Scintilla, 320. Semiramide, 338,
351. Traviata, 255, 273. Trovatore, 255,
338, 655.
Last nights of the Season, 446,
461. Robin Hood, 655, 672, 799. Résumé
of the Season (1860), 488. English Opera
Prospectus, 642. Christmas Pantomine, 827
Lyceum .Pioneers of America, 688. Pets of
the Parterre, 719. Handy Andy, 769. Se-
cret of a Life, 737. Chrystabelle, 828
Olympic.-Uncle Zachary, 382. Savage as a
Pavilion. The Opera Season, 560, 594
Royal Italian Opera. Barbière, 297, 337.
Dinorah, 240, 297. Don Giovanni, 321,
337. Favorita, 273, 288. Fidelio, 256,
273. Fra Diavolo, 288. Gazza Ladra,
337, 351. Huguen 362, 411. Lucrezia
Borgia, 427. Martha, 392, 411. Norma,
411. Orfeo è Eurydice, 411, 427. Pro-
phète, 467, 479. Puritani, 383. Rigoletto,
477. Trovatore, 296. Résumé of the Sea-
son (1860), 504
St. James's.-La Tentation, 383. Fortunio,
560. Hamlet, 577. Still Waters Run Deep,
752. Smack for Smack, 768. The Loves
of Diana and Endymion, 818
Strand.-The Miller and his Men, 383. Hit
Him, he has no Friends, 627. Did I Dream
It, 752
Theatricals in New York, 562
Theory of Harmonics, by W. W. Parkinson,
Thomas, Mr. Harold, 48
Tinney, Death of Mr., 747 Titiens and Alboni in Semiramide, 431 Tonic Sol-fa Association, Letter to Mr. Bowley, 353
Uniform Musical Pitch, 529 Unmusical Poets, 363
Vandenhoff, Miss, Death of, 531 Viardot, Madame, 431 Vivier and Alboni, 363
Wagner, Herr Richard, in Paris, 48, 73, 670 Wagner, Herr Richard, Tännhauser, in Vienna, 107, 609
Wagner, Herr Richard, 706 Wallace, W. V., 499, 512 Ward, Lord, v. Lumley, 103 Weiss, Mr. W. H., 811
West Middlesex Rifle Corps, and their band,
Whitty, Miss Anna, 496, 810 Worcester Musical Festival, 466, 498, 554, 583, 599, 656 What is Buffo Singing? 386
"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED. IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES."-Göthe.
SUBSCRIPTION:-Stamped for Postage, 20s. per annum-Payable in advance, by Cash or Post Office Order, to BOOSEY & SONS, 28, Holles Street, Cavendish Square.
And many of the Nobility, Gentry, Clergy, and distinguished Families of the Empire
DR. MARK'S
GREAT NATIONAL ENTERPRISE
Organised in 1848, and developed at THE ROYAL COLLEGE OF MUSIC
BRIDGE STREET, MANCHESTER, established by him expressly as a Great
National Institution to facilitate the Encouragement and Promotion of NATIVE
MUSICAL TALENT, and the GENERAL ADVANCEMENT OF MUSIC
AMONG THE RISING GENERATION, upon his new and effective system,
also as a NORMAL SCHOOL for the training of masters to conduct CONSERVATOIRES
OF MUSIC to be established throughout the United Kingdom, for LITTLE
CHILDREN, the whole comprising an entirely new scheme of NATIONAL
EDUCATION, by blending music with general instruction, so that the study
of music shall become a branch of education in the humblest of schools of this
country. To illustrate and to rouse an interest in every town and city for these
institutions, Dr. Mark travels with a number of his pupils occasionally through
the country-giving lectures, and introducing his highly approved and pleasing
Musical Entertainment, entitled DR. MARK AND HIS LITTLE MEN, who
number upwards of Thirty Instrumentalists, and a most Efficient Chorus, the
whole forming a most unique and complete Juvenile Orchestra, composed of
LITTLE ENGLISH, IRISH, SCOTCH AND WELCH BOYS, FROM FIVE TO
Quadrilles, Galops, &c., and sing Songs and Choruses in a most effective manner,
and to whom Dr. Mark gives a gratuitous General and Musical Education.
APPOINTMENTS OF MASTERS AND ARRANGEMENTS OF CLASSES IN
THE ABOVE INSTITUTION.
Principal of the Royal College of Music; Director, Composer, and
Conductor; Lecturer to both Private and Public, Theoretical Dr. MARK.
and Practical Instrumental and Vocal Classes
Master of the General Educational Department:
Writing, Reading, Arithmetic, Grammar, Dictation,
History, Geography, Practical Geometry, and Book-
keeping
Violoncello, Double Bass, and Viola
Flute, Piccolo, Oboe, and Clarionet
Cornet and other Brass Instruments
Concertina (German and English)
Vocal Classes ..
Dr. MARK has also made provision for the Orphans of the Musical Profession
possessing musical talent, who will find the above institution a happy home, and
receive a most effective general and musical education, board, and clothing, free
of all expense.
LEES AND MADRIGALS.-EGYPTIAN HALL,
PICCADILLY, (DUDLEY GALLERY). Change of Programme Mr.
Mitchell has the pleasure to announce, that the Entertainment of Glees, Madrigals,
and Old English Ditties, by the London Glee and Madrigal Union, under the
direction of Mr. Land, interspersed with illustrative remarks by T. Oliphant, Esq.,
having been received with distinguished favour and approbation, will be continued
every evening during the ensuing week, at half-past eight; and on Monday,
Wednesday, and Friday mornings, at half-past two. Reserved seats, 38.; un-
reserved, 2s. A few fauteuils, 58. each, which may be secured at Mr. Mitchell's
Royal Library, 33, Old Bond-street, W.
MISS DOLBY begs to announce that she will give
TWO SOIREES MUSICALES at her own residence, No. 2, Hinde-street,
Manchester-square, on the following evenings:-Tuesday, Jan. 10, and Tuesday,
Jan. 31, to commence at half-past eight precisely. The following Artists will
have the honour of appearing at the first soirée :-Miss Freath, M. Sainton, M.
Bezeth, Mr. Doyle, Mr. Paque, and Miss Dolby. Accompanyist, Mr. Randegger.
Tickets for the two soirées, 158.; single tickets, 10s. 6d., to be had only of Miss
Dolby, at her residence.
WANTED, immediately, a Pupil in a Musical Establish-
ment, where he will have an opportunity of acquiring a thorough
knowledge of the profession in all its branches. Apply to Herr Winzer,
Newcastle, Staffordshire.
USICAL DIRECTORY, REGISTER & ALMANAC
FOR 1860.-Contents: Almanac with musical data; list of musical
societies throughout the kingdom; musical transactions of the past year; names
and addresses of professors, music-sellers and instrument makers; and list of
music published between the 30th November, 1858, and 30th November, 1859.
Price Is. 6d. ; per post, 1s. Sd. Publishers: Rudall, Rose, Carte and Co., 20,
Charing Cross, S. W.; and Keith, Prowse and Co., 48, Cheapside, E. C.
In presenting this prospectus, the projectors of this Association deem it worthy
of remark that a great want is felt by a countless number of amateurs possessing
musical knowledge and capability of a society which would afford them ample
opportunity of acquiring, at a moderate cost, a complete knowledge of the beauty
and grandeur of the choicest and recognized orchestral compositions of this and
previous periods.
The object of this Association is to bring together the amateur instrumentalists
of London and its suburbs, for the practice and performance of oratorios, masses,
cantatas, symphonies, operatic selections, and overtures, including compositions
but little known to the general public, with other chef-d'oeuvres of the great
masters, suitable for band and chorus conjointly or separately.
It is proposed to establish, for the benefit of the amateur department, weekly
rehearsals, on every Saturday Evening, at Eight o'clock. at St. James' Hall,
Regent-street, commencing this evening, January 7th, 1860; and that, during
the season, concerts shall be given at one of the large theatres or concert-
rooms, with the important assistance of the honorary professional members,
and in conjunction with the chorus, as soon as the necessary proficiency is
attained.
In the profess onal department there are still vacancies for honorary members
r the
Man following instruments:-Four first violins, one second violin, and two
communications to be addressed to the Honorary Secretary of the London
Orchestral Association, St. James's Hall, (ticket office) Piccadilly W.
H. J. BRAHAM, Hon. Sec.
HREE GRAND MARCHES FOR THE ORGAN,
WITH PEDAL OBBLIGATO.-Mendelssohn's Wedding March (Midsummer
Night's Dream), No. 1; Beethoven's Marcia Funebre sulla morte d'un Erce, No. 11; and Meyerbeer's Coronation March trom Le Prophète (by permission of Messrs. Cramer and Co.), No 16 of the CLASSICAL ORGANIST, a selection of celebrated compositions from the works of the great masters, arranged from the orchestral scores for the organ, with pedal obbligato, by J. T. STONE. Price 3s. each. Vols. 1, 2, and 3 are now published, price 15s. each. A specimen copy may be had, gratis and postage free, on application to the publishers, or to Mr. J. T. Stone, 40, Berners-street, W. The copyright of the Classical Organist is the sole and exclusive property of Messrs. D'Almaine and Co.,140, New Bond-street, W.
FERRARI'S WORK ON THE VOICE AND SINGING,
price 8s., may be had at his residence, Devonshire-lodge, Portland-road,
Portland-place, and at all the principal music-sellers.
"Of all the treatises on the cultivation of the voice that have appeared for many
years, it is the most sensible, concise, and useful."-Daily News.
"There is more sense in this work than we find in nine out of ten publications
of a similar kind."-Athenæum.
"Here is a really sensible work."-Musical World.
8. "I LOVE THE OAK," for contralto or barytone.
London: Duncan Davison and Co., 244, Regent-street, W.,
Where may be obtained
Two Chamber Trios for soprano, mezzo-soprano, and contralto: "Come sisters,
let us dance and sing," 2s. 6d. "Come, fairies, come, the stars shine bright," 2s. 6d.
Three Italian Songs: "Vieni, Vieni," serenade, 2s.; "L' onda che mormora,
romance, 2s. 6d. ; Ah, se piacer mi vuoi," romance, 2s.
Just published, in post 8vo., cloth,
COLLECTION OF WORDS OF 2,270 ANTHEMS,
with 452 Biographical Accounts of Authors, &c. By B. St. J. B. Joule,
Esq., Fellow of the Genealogical and Historical Society of Great Britain, and
Honorary Organist of St. Peter's Church, Manchester. Price 6s. 6d. The Author
will be happy to make arrangements for the supply of a number of copies to any
cathedral, or other church, either in cloth or sheets.
"Christmas comes but once a year"-a jovial song-words by John Oxenford, Esq., music by M. W. Balfe. (Boosey and Sons).-A right "merrie carol," most appropriately designated a "jovial song," written in good homely vernacular of the olden stamp, with an exhilarating burthen at the end that might have been indited in the days of Queen Bess. The words are full of "Christmas," as the reader will own when he has devoured them with the same relish as ourselves:
Christmas comes but once a year,
Thus our fathers sung; With their noisy, jovial cheer Vaulted ceilings rung. Boar's head and wassail bowl, And loving mistletoe, Joy'd the hearty Briton's soul In winters long ago. Christmas comes but once a year, Hang the holly tree; Thus our grandfather's sung, When England was young, And so sing we!
Wassail bowls no longer flow, Bristly boars have fled,
Still the loving mistletoe Dangles over head. Deeply our fathers quaff'd,
When daintily we sip;
But like them we hail the draught From beauty's rosy lip. Christmas comes but once a year, Hang the holly tree; Thus our grandfathers sung, When old England was young, And so sing we!
Christmas comes but once a year, Brief his joyous reign!
Shall we all assemble here, When he comes again?
Some rise while others fall,
As moments swiftly flow,
Yet a living thing to all
Will be the mistletoe!
Christmas comes but once a year,
Hang the holly tree! Thus our grandfathers sung, When old England was young, And so sing we!"
By such suggestive lyrics could Mr. Balfe fail to be inspired? The melody, in fact, smacks of the mistletoe and holly, and is as merry as a "Cricket on the Hearth." The whole song is a perfect "Christmas Carol."
"Moore's National Airs," with symphonies and accompaniments for the pianoforte, edited by Charles William Glover-No. 8. (Addison, Hollier, and Lucas.)
The present number of this edition (the "People's ") contains twelve songs, two or three of which, it will be seen, attained great popularity in their day. The set comprises "Those Evening Bells," "When Love was a Child," "See the dawn from Heav'n is breaking," "Oh! come to me when daylight sets," "Oh! days of youth and joy long clouded," "Who'll buy my Love-knots," Farewell, Theresa," "Bring the bright garlands hither," "Go now, and dream o'er that joy in thy slumbers," "When thro' the Piazetta," Oh, no! not even when first we lov'd," and "The Bashful Lover." The work will be completed in ten numbers, so that the purchaser, for ten shillings, will become possessor of the entire collection of "Moore's National Melodies," which, if inferior in point of interest and merit to the "Irish Melodies," are at all events deserving of a place in every lady's Canterbury.
(Edition of the German Handel Society, II. 1.*) WHEN, last spring, the day came round on which, one hundred years previously, George Frederick Handel died, all classes of the German nation were penetrated with anxious fears as to the fate the future might have in store for them. Not that, on this account, they were forgetful of the debt of gratitude they owed the great master ;-that they were not, the statue now erected in his native town of Halle bears witness-or that the day was passed over without being duly celebrated. No!
from countless throats resounded those tunes which he has bequeathed, like some rich legacy, to us. But men's spirits were bad, their attention was distracted, and the festive sounds, as a necessary consequence, died away only half heard. We have not yet made the legacy, left us by Handel, so entirely our own as to know how to extract from it the utmost profit in every phase of life;-as to know how to derive from it the purest, noblest enjoyment in days of calm, as well as manly strength, combined with confidence, whatever may turn up, at periods of painful uncertainty.
Meanwhile, though, the project of publishing all Handel's creations, and thus naturalising them in the hearts of the people, has progressed bravely. The latter numbers of the work published by the Handel Society have proved beyond a doubt that the future of this worthy monument is assured. On the publication of the first volume, containing the oratorio of Susanna, a practised pen directed public attention to the importance of the undertaking as a whole, and threw out some hints for the conception and rendering of the above work, previously quite unknown to us. The other works for the first year were:-a volume of pianoforte music, part of which was already known in Germany, through an edition published by Peters, Leipsic, and the public performances of artists of repute; and, in addition to this, the pastoral of Acis and Galatea, into which Chrysander enters at length, at the end of the first volume of his Biography of Handel.
A third oratorical work-Hercules was issued, as the first instalment of the series for the second year, a few weeks since. There is hardly any other so well calculated to gain fresh ground for Handel's genius. If we look around the circle of those works of Handel, which are more or less known, we shall find none immediately near which, on account of the mere subject, this powerful Hercules can be placed. This fact affords a proof of the master's boldness, while the manner in which a subject so foreign to our usual train of thoughts is inspired with musical life, and made evident to us, serves the more to dissipate both prejudice and ignorance, and to establish the universal character of Handel's art. The work treats of the return of Hercules to his home, from the destruction of Echalia, of his wretched end, through Dejanira's jealousy, and of his exaltation into the blessed sphere of the gods. The author of the text-according to the short remarks affixed by Chrysander to the scorea clergyman of the name of Thomas Broughton, found, in the Trachinia of Sophocles, a classical model for his task, which, from its nature, requires to be treated with reverential devotion. He had, however, evidently so identified himself with this antique subject that, in his hands, the figures of the heroic world were moulded into a ensemble, perfectly in keeping with the requirements of the story, and, at the same time, adapted in a manner hardly to be surpassed to the purposes of the composer. If, on the one hand,. the merit of the author appears less great than it otherwise would, because he drew his inspiration from a source which furnished him with more than the mere subject, it must, on the other hand, gain considerably in our eyes, when we remember the numerous versions with which we have been favoured of classical models for so-called musical purposes. There is a natural means of satisfying every want, and that musical art which, from its want of character, has lost the art of musical characterisation, would scarcely dare to complain-and, indeed, would never seriously do so-of the barren infertility of the sister
*From the Niederrheinische Musik-Zeitung.
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