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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-

sik-Zeitung), 601

Molique's Abraham (Morning Post), 623, 685
Molique, Herr, the Norwich Festival, 762,

769

Mozart (by Otto Jahn), 80, 91, 107, 210, 225,

359

Mozart (by Otto Jahn) from the Morning Post
775, 808

Mozart's Don Giovanni at the Italiens, Paris,

162

New Arrivals, 335

New School of Dancing Music (Haydn, Wilson),

777

407

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

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546

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

Ranoe, Miss Kate, 611

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,

127

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

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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,

715

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408

Thomas, Mr. Harold, 48

Tinney, Death of Mr., 747
Titiens and Alboni in Semiramide, 431
Tonic Sol-fa Association, Letter to Mr. Bowley,
353

Toujours Grisi, 547

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,

111

Whitty, Miss Anna, 496, 810
Worcester Musical Festival, 466, 498, 554,
583, 599, 656
What is Buffo Singing? 386

York Organ, The, 577

Zingarelli, 483.

"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.

VOL. 38.-No. 1.

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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.

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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.

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REVIEWS.

"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.)

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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.

'r

HANDEL'S" HERCULES."

(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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