"'Six Organ Pieces in various styles' intended as introductory to the characteristic difficulties of the Instrument"— by Heury Smart (Wessel and Co.)—If the remaining four pieces of the above series are as good sis those we have before us (Nos. 1 and 2), organ-players, professional and amateur, will have to thank Mr. Henry Smart for a most valuable contribution to the not by any means too abundantly varied rejiertory of the noble and universally venerated instrument of their predilection. That Mr. Smart is an accomplished organist, no less than a musician of distinguished ability and rare acquirements, all our readers must be aware; and few will refrain from joining us in the earnest wish that he wonld accord to the organ the same amount of diligent attention by means of which he is now extending, in a series of first-class comjwsitions, the "materiel" at disposal of the numerous choral societies existing in this country. Mr. Smart's recent jiart-songs have excited general and warm admiration, and the English school is in a sensiblo degree a gainer by every one of them. In no inferior measure would our school of organplaying and organrcomposing be benefited were Mr. Smart assiduously to advance in the path indicated by the charming pieces before us—which, however, to judge from the fact of their being inscribed to his friend, the late Mr. Thomas Adams, must have been written some time since. Both numbers are highly interesting, and, though each is genuine organ-music, having nothing in common but their artistic beauty and refinement, both will be indispensable. "We need not further recommend them, nor do anything more than call attention to the fact of their existence, being well assured that whoever has either in his possession—whether No 1 or No. 2—will not rest satisfied until he has obtained the other. The want of such organ-music, refined and musicianlike, moderately difficult, and without a touch of pedantry—something, in short, between Bach, or Handel, and a certain school which, in these days, seems to aim at metamorphosing the organ into an orchestra—has long been sensibly felt. No living composer is more capable of meeting the demand by a rich and varied supply than Mr. Henry Smart.


HANDEL'S MESSIAH. Sis,—A work that has been so long in existence as Handel's Messiah, that lias been performed in every quarter of the civilised globe, that bag excited the admiration of all the great musicians who have succeeded Handel, and been the delight of countless thousands, would almost seem to be beyond the pale of criticism; and wore it not true that time consolidates error as well as truth, any one venturing to pass » censure upon such a production might fairly be accused of rashness. But at the risk of being charged with temerity, and perhaps with something worse, I venture, through your columns, to point out what I cannot help considering a defect, and not a slight one cither, in this great oratorio. I allude to the chorus, "All we like sheep have gone astray," which presents, to my mind, a complete violation of the •rsthetical laws that govern the union between words and music— the chief of which I take to be "That the music should express tho ■vw'ions of the mind that are indicated by the words j" vocal music Wng, to make use of an admirable expression of Mr. Herbert Spencer, m it» essence, "idealised emotion." Try Handel's chorus by this law. The words are few. "All wo like sheep havo gone astray; we have turned every ono to his own way; and tho Lord hath laid 6n him the iniquity of us all." Apart from intellectual ideas, what emotions, I would ask, do these words express? The two first sentences, and it is upon these that nearly the whole of the chorus has been written, most assuredly express penitence, for we cannot suppose them to be uttered under the influence of any other feeling. Does the music correspond? Very far from it, as it

appears to me; so far, indeed, that I never listen to it without thinking what an excellent Bacchanalian chorus it would make. How Handel could commit such a blunder, I cannot imagine, because he is usually so very accurate in his adaptation of music to words, of which there could not be a more striking example than the concluding portion of this very chorus. What profound depth of feeling is embodie d in theio few bars, and what a contrast to the preceding portion! It is difficult to understand, too, how it is that professed critics have been so silent on this point, for I am not aware of a single one who has ever mentioned it j and that none of the thousands of intelligent people who have heard the oratorio performed, especially the clergy of all denominations, have ever ventured to call in question the aesthetic propriety of this chorus. If I am wrong in the view I tako of it, I shall be exceedingly glad to be set right; if I am right, the chorus should be at once expunged from the work. It is already too long, and were this removed, there would be a better chance of the divine song, "I know that my Redeemer liveth," (which is not unfrequently sung when the audience are filing out by scores,) being heard. I recommend the matter to the consideration of Mr. Charles Halle, who is about to produce the Messiah, with large means aud appliances, in Manchester, and to all who havo in future the task of bringing it before the public,


[Let us earnestly entreat Mr. Halle not to "expunge" the chorus, which is one of tho most characteristic emanations from Handel's pen.—Ed.]


(London Sittings after Bilary Term, before the LoiiD CHJLEF BAEOK and Special Juries, Guildhall.) Mb. Bovill, Q.O., and Mr. Mellish appeared for the plaintiff; Mr. Edwin James, Q.C., Mr. Hawkins, Q.C., and Mr. Maude, for the defendant.

This was an action of debt for rent. The main plea was one of accord and satisfaction by giving up possession of the Opera House, and cancelling the lease. The defendant was the lessee of the Opera House. The speculation was not successful, and the plaintiff had in various ways assisted the defendant to keep the house open. In 1856 the debt had so increased that it became necessary to make some arrangements. The lease was then assigned to the plaintiff. This lease had about thirty-six years to run, and was subject to a ground-rent of £1,900. The plaintiff then leased the Opera House to the defendant at a rent of £6,275 per annum. This rent was paid till Michaelmas, 1847. After this no rent was paid. On the 10th of August, 1858, possession was given up, and the lease cancelled. The action was brought to recover £4,560 for this rent. Defendant sekup that it was agreed that if the lease was given up this rent need not be paid.

John Henry Benbow, the plaintiffs solicitor, having been examined by Mr. Mellish, said, in cross-examination by Mr. James,—Lord Ward has been connected some yenrs with the Opera. He had advanced sums of money to release the house from liabilities. The lease was assigned to Lord Ward. There was duo to his lordship £38,600 at the time of assignment. The ground-rent was £1,900; the house was let at £6,275. Tho leaso had 36 years to run. The case of" Crofts and Lumley" was then pending. It raised the question as to whether the lease was forfeitod to the ground landlord. It was decided in April, 1858, in the House of Lords. I always told defendant he must pay rent and give up possession. I did not tell him if he would give up possession quietly I would not ask him for rent. Possession was given up on the 10th of August. I told Lumley he must give a warrant of attorney; he objected, on the ground that giving a judgment must be very prejudicial to him. I proposed that he should give an undertaking to give a judgment. He refused. It was not on the ground that it had been agreed that if he gave up possession Lord Ward would not ask for rent. Lord Ward desired me to insist upon tho payment of the rent. Lord Ward has possession of the theatre.

Re-examined.—Lord Ward was paid nearly £100,000 on the part of the theatre. His lordship had bought the properties for £10,500 before the assignment. The Buit for ejectment was pending at the time of the assignment, so that if it had been decided against Lumley the assignment to Lord Ward would have been valueless.

Lord Ward examined by Mr. Bovill.—My first transaction with Lumley was the purchase of Opera boxes when ho became lessee. The theatre was closed some three or four years before 1856. I interested myself to get the theatre open. Lumley could not open it on account of liabilities. I assisted him to pay off these liabilities. I have advanced in all from ,£90,000 to £100,000. For that I have the assignment of the lease. I remember the meeting of the 25th Juno, 1857. Lumley was anxious about the appeal, and wished the terms of his lease altered. It was promised that if Croft's case was settled in Lumley's favour, I would reduce the rent from 5 per cent, to 4 per cent.

By the Chief Barou.—I never in any shape or way agreed to give up back rent if Lumley would give up possession.

Mr. James having addressed the jury for the defendant—

Mr. Lumley was examined by Mr. Hawkins.—I have been connected with the Opera since 1842. My connection with Lord Ward commenced in 1844. The action of "Croft v. Lumley" commenced in 1853. Lord Ward had purchased judgments against the theatre. In March, 1856, I mado an assignment of the lease to Lord Word. I valued it at £150,000. Previously Lord Ward had offered me £10,000 if I would assign it absolutely to him. In 1857, T asked his lordship to forego two years' rent. He consented to forego one year's rent. In July, 1857, his lordship stated that if tho decision in the House of Lords was favourable he would reduce the rent from 5 to 4 per cent, and that ono year's rent should be foregone, and spread ovor the remainder of the term. The decision in the Houso of Lords was given in April, 1858, in my favour. In May, 1858, I had an interview with Bcnbow. I said, "If Lord Ward will carry out the plan mentioned for forming a company, I could get the money." He said, "If you will give up possession quietly, I will givo up the rent." On the 7th of June, 1858, I executed a transfer of the properties to his lordship. A writ was issued on the 19th of June. A few days afterwards I had an interview at Dudley House. I gave a pledge to give up possession immediately after termination of the season. Afterwards I told Bcnbow that ho had promised to forego the rent if I would quietly give up possession. Ho assented. In October I 6aw his lordship at Paris. No demand was made. I said, " Your lordship always promised me a year's rent." Ho said, "You have got it."

Cross-examined by Mr. Bovill.—I do not know that the leaso has been valued at £50,000. The properties of theatre wero put up to auction in 1853. Lord Ward bought thorn for £10,000. I used them, and as they woro out I replaced them. During the proceedings in the House of Lords tho ground rent was in arrear. I received all the receipts of tho theatre in 1858, and I neither paid ground rent nor Lord Ward's rent.

Charles Lee, examined by Mr. Bovill.—I valued tho theatro at £50,000.

Cross-examined.—Wo have asked £7,000 a-year of Mr. Smith. I liavo refused an offer of £7,000, but no security was offered, and I refused.

Tho Chief Baron having summed up,

The jury almost immediately found a verdict for the plaintiffDamages, £4,560.

A LETTER OF MENDELSSOHN, [Written at tho age of 15 years to Frederik Yoigts, author of tho book to the opera, The Wedding of Camacho, translated and communicated by his fellow-student and friend, Dr. Ferdinand Rabies.]

Honoured Sib,—Excuse mc that my thanks for the excellent first act comes so late, as I would not express my gratitude before having acquainted myself thoroughly with its beauties; and having now done so, I find my thanks too feeble for such a masterpiece.

I shall endeavour to imitate your poetry; but feel afraid that I may not be able to express through my music those elevated impressions which it must produce on every one at the first reading, but hope with my ardent desire to try to do the utmost in my power. The first act is so beautiful and charming, that I anxiously wish to be in possession of the second as soon as possible, and beg of you to realise this favour ai your earliest convenience.

You will kindly allow me to state the following remarks:— With regard to the verses and the diction of those parts, which are to be set to music, I have very seldom, I may say never, met before with such excellent ones, which in the first perusal have liad the power of producing musical ideas in me. They are so smooth, so fitted to the adaptation of music, not too long, and contain all the qualities of a superior opera text.

As the numbers of pieces to be composed are too many, I make use of the liberty you kindly granted me in omitting the following ones, viz,—the arietta of Vivaldo, "My sword, my

lyre j" the aria of Lucinda, "How inconvenient is a fortune;" and the immediate following air of Carrasco, " What a running;" because there would be seven music-pieces without an interspersed dialogue, by which the audience would be tired. The choruses of the cousins, in contrast to those which enter with Carrasco, please me exceedingly, and the short advice you give me, shows how I must set them to music.

I also must ask the favour not to divide the opera into three acts, but compress the whole in two, as agreed upon. Lately I saw Hamlet, in which a priest comes upon the stage and speaks, so I think we have got over the difficulties we thought we might encounter in bringing the clerical garb upon the scene. Let priest remain' priest; but he must not be allowed to sing upon the stage: and the opera an opera in two acts. Amen!

What a fine fellow is Vivaldo, and an excellent part for a tenor singer, and as you will do away with Basilio's going through the air, I do not see any difficulty more in having a good singer for this part also. St. Peter may say, "Let every man have what belongs to him," and so says the basso Sancho upon his gray mare.

The only favour I have again to ask you is, to let me have the second act, for which I am longing and very anxious; therefore be so good as to send it as soon as possible. I shall not feel happy before then. With my best thanks.

I remain, your obedient servant,

Felix Mendelssohn-bartholdt. P.S.—I wish so much to be in possession of the second act that I cannot commence to compose before I have reviewed tho whole of it.


Berlin, March 13, 1824.


Madame Oury's Matinie Musicale a"Invitation took place on Thursday, the 9th, at the house of Mrs. Leo Schuster, 2, Adelaide Crescent, Brighton, when the spacious and elegantly furnished suite of reception rooms were thrown open for the occasion. Madame Oury's Matinee, which was considered one of the best parties of the season, was fashionably attended by upwards of a hundred and twenty lovers of music, who appeared most fully to appreciate her exquisite performances of her "Fantaisie brillante," from Martha, " La Berceuse," and " Air de l'Ombre," from Dinorah, and her "Galop di Bravura," on the Christy Minstrels' Melodies. Indeed, it was generally remarked, that this talented artist had never been heard to more advantage, or been known to perform with greater fire and genius. Her "Galop di Bravura" on the Christy Minstrels'Melodies promises to become a great favourite with the musical world. Sig. Mecatti was in excellent voice, and gave general satisfaction by his singing of a barcarolle, and a romance of his own composition. Madlle. Garthe, a young lady of pleasing appearance and promising talents, likewise added to the afternoon's enjoyment, by her spirited singing of a German song by KUcken. At six o'clock the company took leave, much gratified by the kindness of Mad. Oury in providing them so great a musical treat, and with the hospitality of Mrs. Leo Schuster.—Brighton Herald.

Sin P. A. O. Ouseley ix Yorxshiee.—Last week Sir F. A. Gore Ouseley, Mus. Doc., visited Yorkshire, and in Leeds, Halifax, and other towns, gave a lecture on "Choral Music," before large audiences. The lecturer said that his object was to explain the principles of choral music more fully, and thereby render church services not only more pleasing to the ear, but more conducive to devotion in those who joined in them. There was one fundamental axiom to be borne in mind, that music of any kind was only so far good as it realised the particular object intended in each case. He would illustrate this: Dr. Crotch had Baid there were three distinct styles of music—the sublime, the beautiful, and tho ornamental. Ought cathedral music to be sublime, beautiful, or ornamental? Tho objects sought in such music were two-fold: first, the praise and glory of God; and, second, to elevate the mind of tho worshipper to high devotional feeling. « These being the objects, it was evident that the sublime style was the only one fit for divine worship. The beautiful was not excluded, nor was the ornamental always out of place,—only it must be made subordinate. Sir Frederic next remarked that tho choral services of the church were of six different varieties, or rather five; for with one of them, the ordinary reading voice, he had not then to do. These were, first, the plain monotone ; second, the inflected versicles and responses; third, the regular psalm chant; fourth, the regular setting of the Canticles, called "services:" and, fifth, anthems, in which all the appliances of tho art were available. Sir Frederic proceeded to speak in detail upon each of these points or divisions of the cathedral service, and endeavoured to show tho value of this variety of stylo. He would that it was better appreciated throughout the land! It was sad to see the results whicli flowed from tbc want of such appreciation. There were two sources whence the ovil arose; first, the love which provailed far a light, frivolous, superficial and fanciful musical service; and, second, the mistaken affection so prevalent for the crude music of ancient times. By the adoption of either of these mistaken courses, the purpose intended was not gained; and the whole service was often rendered odious. In parish churches, when a choir could not ho supported, the best substitute for the anthem was a metrical hymn, in which tho whole coneTegation could join. The great secret of a good psalm tune, was that all should bo able to join it. To this end it should have no very high or low notes in it; it should be free from flourishes; there should be no abstruse harmonies; old tunes should be preferred to new ones; the simple to the complex ; common time to triple; English to foreign; melody should be considered before harmony; and the spirit of the words before that. Of oourse, in a musical community like this, some thing much better could be accomplished; but even here some metrical psalm tune should be adopted, in which each should join. Whenever n cathedral service could be performed it was well; but it was better to do a little well than a great deal ill. Sir Frederic, in conclusion, paid a high compliment to the choir, and sat down amid much applause.— • The Ven. Archdeacon Musgrove moved a vote of thanks to the lecturer, whioh was seeonded by John Waterhouse, Esq., wtio strenuously urged the necessity of a subscription being at once set on foot in order to effect the required additions to the parish church organ, and which he had long known tho need of. They could make it one of the finest organs in the north of England. The vote of thanks was carried by acclamation, and Sir Frederic having acknowledged it, the meeting was brought to a close by singing the Doxology.

Leeds.—Ditference of opinion seems to exist respecting the practicability of playing on the great organ iu the Town Hall, Leeds, not, however, owiug to any fault in tho manufacture. A meeting of the Town Hall committee waa held last week to report thereon, and the following notice appeared in the Leeds Express of the 11th instaut:—

"Mr. Newton said that os several statements had been made respecting tbe organ in the Town Hall, he thought it was high time that the public were informed whether the instrument was a valuable one or not. Some parties wero of opinion that the organ was the finest in t he world, whilst others had stated that it was perfectly useless. A letter had appeared in the Intelligencer last week, which stated that to press down a single key of the great organ when coupled with the solo organ, required a weight equal to 23 ounces. He (Mr. Newton) held in his hand a letter from Mr. Spark, who stated that it required a pressure of six ounces only. Mr. Newton concluded by asking if Mr. Hopkins, of London, bad been to examine the organ; and if so, what wus his report on the subject."

"Alderman Botterill observed that the Town Hall organ had been examined and reported on by Mr. Hopkins, and on the whole his report was considered very favourable. With respect to the solo organ, he believed there was a littlo difficulty, not on account of the extra pressure, but owing to the extension of the arms which was required. With respect to the composition pedals, Mr. Hopkins said they would not act very readily, which he attributed to the smallness of one of the engines, and not to tbe builder of tho organ, and the committee were potting down a larger engine, which would draw out the Btops instantaneously. This they proposed to have dono before tlio report was presented to the council. With regard to tho power and tone of the organ, the borough treasurer had handed him a letter in which Mr. Hopkins said that, in his judgment, the organ possessed ample power for the Town Hall. As to the tone, the reeds appeared to him to bo a feature of their organ. Tho pedal organ did not appear to him to be consolidated.

"Mr. Carter and Mr. Middleton objected to the Chairman making these statements, whilst the subject was -till under consideration, and for which no member of tho Town Hall Committee could be considered responsible.

"Alderman Botterill said he would not refer further to the report, bat he would state that Mr. Best had expressed his opinion that they were completely ruining the organ by allowing any person to play upon it. _ It was impossible, said Mr, Best, for any man to play upon it with

out a week's practice. A person came to play it, but could not, and then he found fault with the organ. He considered it to be a splendid instrument, but urged the committee to appoint an organist without delay.

"Tho subject then dropped."—Leeds Express, Feb. 11.

Dukdbb—{From a Correspondent).—Mr.Methven'ssecondgrondconcert of the season was given in the Corn Exchange Hall on Wednesday. The artists belongod to tho Beale party. Madame Fiorentini, in "Softly sighs," received quite on ovation. Madame Corhari was also well received. Madame Badia made nothing out of "Ah, non giunge." Herr Reicbardt dolighted the audience with "Thou art so far;" he also sang the duet, "The Mariners," with Signor Tagliafico. The latter gentleman gave Rossini's "Tarantella." The morceaux densemble, especially the finale, "Dal tuo stellate," excited iu an unusual manner our northern audience. Of Sivori and Bottesini I can say no' more than that they both displayed tho wonderful powers for which they are celebrated. Mr. Brinley Richards performed his own arrangement of "Weber's Last Waltz." Herr Engel executed a solo on the harmonium. Mr. Hatton conducted. I refrain from particularising, the performances of the Beale party being almost everywhere the same. —A dress concert was given on Friday ovening in the Com Exchange, Hull, by the Dundee Philharmonic Society, assisted by several lady and gentleman amateur vocalists. The programme included the "First and Second Movement," and the "Minuet and Rondo " from Haydn's Seventh Symphony; the Overture to Don Oiovanni; Trio for pianoforte, flute, and violoncello, Op. 63; Weber's and Thalberg's Norma, for two pianofortes. The orchestra, conducted by Mr. Spindler, was very creditable, considering they were mostly amateurs. The Norma duet, however, was the most successful piece of the evening, being performed in a very superior—almost faultless—manner. The vocal portion of the programme comprised " Home to our Mountains," 'O.firm as oak," Wallace's new ballad, "The Bell-ringers," a Romance, by G uglielmo; "Sul campo della glorio," Balfe's "Good night, heloved j "Honour the brave !" and "Hearts of Oak," all of which were sung in a manner we have not heard surpassed by amateurs. The performance, for the benefit of the Rifle Corps, was, pecuniarily, quite a success, the free proceeds exceeding £100. ^


Paris.—It is a difficult thing, now-a-days, to interrogate the Future without thinking of the music of M. Eichard Wagner. It was at the Italian theatre that the second grand symphonic battle of this pretended musical Messiah came off. The following is the bulletin of this second action, which was not less warm than the first:—

1. —Le Vaisseau Fantdme, which was aground the first evening, went to pieces at the second tide. All hands and cargo lost.

2. —Tho fine march from Tiinnhauser, on the contrary, assumed all the proportions of a good victory.

3. The Pilgrimage to Rome planges us again into the difficult paths mentioned in the book, paths which we have followed until the persons concerned fall, like Tannhauser, senseless.

4. —Le Chant des Pelerins, with which the overture ( Venusberg) commences, revives our sense of hearing; more than once the tenors break forth, but more than once, also, we find ourselves on the difficult paths already mentioned.

5. —The story of Tristan and Isolde is decidedly most unprecedentedly lamentable. To moke up for this Le Saint Oraal gains upon acquaintance.

0.—Without stopping at the Beveil 3Iatin, which was unable to free from tho soporific fluid more than one beautiful woman, who had been sent to sleep by.tho story of Tristan et Isolds, let us mako room for La Maivhe des Financailles the effect of which was grandiose.

7. —Let us come at last to tho pretty chorus of LAmour; it will make us forget the somewhat too noisy dances of the somewhat too bacchanalian nuptials of the innocent and modest Elsa do Brabant.

8. —Wo were nearly forgetting the cosmopolitan melody, partaking, at one and the same time, of the French, German, and Italian schools— by the past, the present, and tho Future—a melody which was tastefully sung by M. Jules Lefort, but which no one thought of encoring.

To close this summary bulletin, we will add that there was almost a sufficient number o! persons present, especially when we recollect the highly excited state of public feeling. In the saloon there was the same turbulence and the same emotion as on the first evening; the dissertations and discussions were endless. M. Richard Wagner's third symphonic attack is fixed for next Wednesday.—Le Minettrel.

Vienna.—We give, through a correspondent, the translation of an acknowledgment presented by the Viennese Schiller Verein to Mr. Morris Moore.

Sir,—You hare had the great oomplaisanoe to let Vienna enjoy your famous picture of Raphael, representing Apollo and Margins. While thus favouring this capital whioh has hastened to see this incomparable masterpiece, you added, moreover, the great kindness of makiug over the proceeds to the Schiller Verein, the fund of which is destined to carry succour to distressed poets, who bear tho lyre of Apollo and the wounds of Marsyas. The committee of the Schiller Verein feels itself deeply touched by your kindness, and is eager to express to you its most sincere acknowledgments. Acoept, Sir, the assurance of our respect, and our gratitude, with which we have the honour to subscribe ourselves,

Edwabd Mvvk*
Db. Mosbnthal,
Cabl La Roche,
Ch. Rick,

Vienna, Feb. 2, 1860. Db. Leop. Kompbbt.

A Monsieur Morris Moore.

Coblentz.—At the fourth subscription concert of the Musical Institute, under the direction of Herr Lenz, the public had an opportunity of hearing, for the second time, Herr Maximilian Wolff, visitant from Frankfort-on-the-Maine. This gentleman had already delighted us, at the second concert of the series, bv his cxeoution of Mendelssohn's Concerto, and Leonard's Fantaisie Militaire, as well as at a concert of his own, by Spohr's Qesangscene (dramatic concerto). On tho present occasion he played Beethoven's magnificent concerto, not previously heard here, and Leonard's Souvenir de Haydn. He has not only gained the wannest applause from the great body of tho public, but been honoured by the most flattering appreciation among amateurs and professional men. He has a fair career before him. In addition to this, we heard, at the same concert, Gade's B flat major symphony, No. 4, two choral songs, for four voices and without accompaniment (Op. 100), by Mendelssohn, Cherubim's overture to Medea, and, in conclusion, tho introduction to the third aot, and tho bridal chorus from R. Wagner's Lohengrin.

Oldenbt/bo.—Tho programme of the third subscription concert, on tho 6th inst., under tho direotion of Herr Franzen, contained Mendelssohn's A major symphony, which was here almost unknown, and pleased vastly, the overture (Op. 124) by Beethoven and Weber's overture to Her Freischutz. A brilliant feature of the evoning's entertainment was Herr F. Lamb's violin-playing. Tho pieces selected were Mendelssohn's concerto, an adagio and fuguo by J. S. Bach, and a Rondo Schertoso of his own. At a concert subsequently given by himself, he played a quartet by Haydn, F. Schubert's Rondo for piano and violin, a Notturno and Folonaise,o( his own composition, and Bazzini's Danse des Latins, Herr Schutz executed, on the piano, Liszt's arrangement of the march from Wagner's Tannhauser.

Breslau.—At tho last concert given by Herr Damrosch, as all the pieces in the programme, with the exception of "Gretchen," the second movement from Liszt's Faust Symphony, were well known to the public, the interest was, naturally, concentrated on the said "Gretchen," which belongs to that class of programme music fostered by tho concert-giver with boundless love and devotion. We, for our own part (and we by no means stand alone) connot make up our minds to like this kind of music, although we really do our best to abandon ourselves, quite impartially and without prejudice, to the modern school of tone-painting, which is to mark a new epoch in art. The pieco selected on this occasion was received by the intelligent, calm portion of the audience in solemn silence, though the manifestations from other quarters called forth some hisses. At this, Herr Liszt's party, always very pugnacious, were exceedingly wroth. We must again submit to the same stereotyped phrases, by which we are informed that so wonderful a picture is certainly not to be comprehended by profane souls, but wholly and solely by such highly-poetical natures as can plunge, with love and self-sacrifice, into the bottomless abys3 of a composition of this description. We are furthermore told that the work is perfect in every respect, whether looked at in a formal, instrumental, or rhythmiosc (!) point of view. All respect for such knock-down, oracular responsos; we will patiently leave the decision to the Future.

* Huron Miinck Bellinghausen, celebrated under the name of "Halm," as ono of the first German Dramatio poets of the day, and brother of the late President of the Germanio Diet at Frankfort, gj

Cologne.—Herr Hans von Billow, pianist to tho King of Prussia, ii announced to play for the first time in this city, at tho second concert of the Coiner Jliinnorgesang-Verein.

Pksih.—The most remarkable of recent manifestations at Pesth took place at a concert of M. Remenyi, a refugee who has lately returned from England, whore he acquired tho position of solo violinist to Her Majesty. After the first piece the public violently demanded the "Rakoczy," and such was the impression produced by the terrific performance of this national air, that the audience rose, uncovered their heads, and joined the player in thundering chorus. Nor was the emotion of M. Romenyi less than that of his hearers. Whilst standing on the stage, and in the midst of the performance, he threw away hit violin, and burst into tears. Some minutes elapsed before he could resume tho interrupted performance, and then, like a storm breaking out after a short lull, with renewed violence, ho seized his instrument again and dashed out the exciting strain with a wild and savage besuty. The public all the while were shouting, crying, and hurrahing like spirits broke loose. Had there been arms in the hands of the people—but thero are none in Hungary—that movement would havo been the beginning of the revolution.

Musio vs Bbazil(From oar Correspondent).—The Opera in Rio Janeiro closed after a season of ten months, on the 5th of December, The principal vocalists.Madame Medori, Seiiors Mirate, Dido, and Arnaud, havo left to fulfill engagements at Monte Video, Pernambuco, and Buenos Ayres, where the Emperor, Empress, and Court are sojourning. The season terminated somewhat heavily,owing probably to the monotony of the performances, and a certain cold indifl'erenoe towards the public by tho management. Rio is theu exceedingly dull. The Theatres St. Pedro, L'Acalza, occasionally ofTer a representation, but the nobility being in the interior of the Brazils, the pleasures "du monde" devolve upon themselves.

M. Anglais* (first contra bassist at the Opera), gave a benefit ooncert a little time past at the Theatre St. Pedro, at which Madame de la Grange made her last appearance in Rio. This lady has finished her engagement at tho Lyrique, and happy indeed must any reasonable person be, in knowing there is peace at last in Rio, for since the arrival of Aladamo Medori scarce a day has passed without a controversy as to the rival merits of tho two artists. But Madame do la Grange has gone. I never saw an artist more loaded with applause and presents; and I never saw so many instances of absurd taste as have been exhibited towards Madame do la Grango from the Brazilians. This lady executes wonderfully, and that is all. The world hero has run away with the opinion that playing a Paganini-solo with tho lungs constitutes true vocalisation. On the 23rdof December, Mr. John Cheshire (first harpist at the Opera), gavo a concert at the Saloon S. Pliil'entorpe, assisted by Mesdames Carlotta Mellict, Luiza A mat, and Moreno. The instrumentalists were—pianoforte, Herr Pfleifer; Luiz Anglais, double bass; and Rcichardt, flute. The novelty attracted au audience the most elegant in Rio, and Mr. Cheshire's success was great. Ho played Parish Alvars' fantasia ou Lucrezia Borgia; a new one composed by himself for the occasion on Norma and the Somnambula, together with a duo for harp and contra-basso with M. Anglais. The combination of these instruments was admired, and the contra-basso of M. Anglais makes one often think of Dragonetti and Bottessini. Madamoiselle Melliet has a good voice, and sings tolerably well. She is termed bore the Brazilian prima donna. Herr Pfleifer played two fantasias, one on II Trovatore, and one on the Camaval de Venise. His performances were very clumsy. In the absence of Signor Qrazini (of the Opera), who forgot the concert altogether, although he was to have conducted it, Madame La Contessa Speranza Maffei, a distinguished amateur in Rio, honoured Mr. Cheshire by accompanying several songs. This concert has given deserved notoriety to Mr. Cheshire. The Theatre ro-opens about the 15th of March, when many novellies are anticipated.

Music In Vibnna.—The partisans of Wagner, determined to be recognised even in the streets of the town, refrained from shaving, hair cutting, small-tooth comb, nail brush, or soap-andwater; those of Liszt employed all these to a finical extent; and a humorous anecdote i3 told of a raging Wngnerite, after hearing Liszt without prejudice, having suddenly changed his opinion concerning that great master, resolutely entering a barber's shop on his return home—having come out a partisan of Liszt, so far as smooth chin and clean hair and skin could make him—and having been seized by his own friends aud pupils, as he entered his own house, and rolled in the mud until he had amassed dirt enough to make him one of themselves once more.—Court Journal.

'J* Formerly with M. Jullien at Her Majesty's Theatre.


As is generally known, it was Hoffmann, the manager of the Thalia-Theater, who first produced Tdnnhauser in Vienna. The work did not come out at the Imperial Opera-house until the 19th November last year. Up to the 9th January, it was performed nine times to full houses. In No. 2 of the Wiener Recensionen, there is an article on Wagner's music generally. This article agrees with what has often been said of Wagner in the Niedsrrheinisehe Musik-Zeitung, and, moreover, alludes to his affinity to Weber, Marschner, and, lastly Meyerbeer, Berlioz, and Verdi. The conclusion is very interesting:—

"If we look around us, and put the question: 'Out of what olosses are the admirers of Wagner's operas reoruited bore in Vienna.?' we find a small band of Futurists, properly so called, that is to say, adherents of Wagner's theory of reform; a few educated musicians, who fancy they perceive, in Wagner's straining after dramatio trnth, a reaction against the influence of Italian music; and, furthermore, a considerable number of mti-educated, and a still more considerable number of fin-educated playgoers. But what generally entices these two classes into the theatre? Why, more especially, what Donizetti, Meyerbeer, etc, hare produced in their weakest moments; why, more eapeciallv, Verdi's musioal monstrosities. The public of Lohengrin and Tanxhavser look forward with delight to the Trovatore, and yearn for Rigoletto. Is not this a remarkable sign of the times? Does it not awake many a misgiving? Verdi passes in Italy for a ' learned' musician who has undertaken the civilising mission of naturalising the French opera with a touch of German profundity! Verdi is therefore quite seriously looked upon as a reformer in Italy, just as Richard Wagner is in Germany—we will not insult Wagner by a longer comparison. We can well distinguish artistio from rough natural qualities. But it cannot be altogether denied, that there is a certain distant relationship with the author of Nabucoo, when we reflect that, in both cases, the plain secret of success may consist in the over-excitement of the pnblio taste, in the over use of material means, and, lastly, in the absence of equal competitors, for Meyerbeer writes no more Huguenots. Composers of talent less known are seared away, rather than encouraged, by operatic managers now-a-days."



(From the Niederrheinische Musik-Zeitung)
(Continued from page 92.)

The Fourth Part embraoes the second half of the history of the last ten years of Mozart's life (1781—1791), the period during which his genius produced his greatest creations, which have rendered him immortal. It contains the sections from 12 to 25 of the Fourth Book, the first eleven comprising the contents of the third volume of the work. While the latter treat mostly of Mozart's material circumstances, the historical element is thrown more into the background in Book Four, since, except the account of two professional journeys—to Berlin and to Frankfort-on-the-Maine—only the moving narrative of Mozart's death and its immediate consequences belong to the biographical portion, properly so called ; while the analysis of his works, on the contrary, together with the most careful accounts of their production, carrying out,&c, take up most of Volume Four, which a the thickest of all, containing 748 pages of text, 40 pages of appendix, a complete catalogue of names and facts, 16 pages of supplementary notes, and a portrait of Mozart, after a picture painted in Verona in 1770, when he was fourteen years of age.

The mere comprehensiveness of this list gives us a foretaste of the rich contents of the last volume; a cursory sketch will teach the reader what he has to expect, and what he will find carried out in a manner which, from beginning to end, attracts, fascinates, and instructs.

The first three sections (from 12 to 14 inclusive) show us Mozart as pianoforte player and composer of instrumental music Section 12 discusses his works for the piano, the variations, rondos, fantasias, sonatas for the pianoforte alone, and with violin accompaniment, the trios, the quartets, and the quintet (in E flat), as well as the concertos. In the catalogue of the latter, pp. 5] and 52, we find the concerto for two pianos

(printed in Offenbach, by J. Andre, as Op. 83, Edition faite d'apris la Partition en Manuscrit"), but not with the orchestra (quartet, two oboes, two horns, two bassoons), which is not mentioned either in any part of the text.

In relation to the concertos, the author brings prominently forward services rendered by Mozart towards the combination of the orchestra and the solo instrument into one whole, as eventually, and in the received form, creating something new, and shows how the orchestra has full symphonic justice done it, not merely in the tutti movements, but as continually introtroduced into the piano part, also participating directly in it. "An art of blending all the various kinds of sounds in the orohestra, which at once proves an uncommonly fine sense, supported by the most accurate knowledge of instrumental effects, for what is harmonious." "The happy notion," the author observes further on, "in the close combination of the various instrumental resources into one whole is so completely successful, that in this particular Beethoven, who made an especial study of Mozart's pianoforte concertos, as every one who knows them at all thoroughly will easily perceive, has not, in any essential point, gone further; the higher importance of his grand pianoforte concertos has another foundation. It is true that, with Mozart, there was something more than the mere delicatelyfostered sense for the appropriate mixtures of the various kinds of sounds; the invention, treatment, and distribution of the motives were conditional on the nature of the means for their manifestation; it was necessary in the first sketch that the different resources should be well considered, if they were to have justice done them in the mode in which they were carried out; even in the bud, the various motives must have been endowed with the faculty of free development under various conditions. The result is a race between different agents, the orchestra and the pianoforte—and the principal charm of these concertos rest upon the lively interworking of the opposite elements, by means of which process the separate motives, as if under an ever changing light, are grouped into a rich and brilliant picture."

It is very correctly remarked that Mozart's concertos require, "besides a clear and song-like execution, especially of the melodies, which are often greatly spun out," " the calm, steady" hand, which " causes the" roulades (Passagen) " to flow like oil." Nearly all his roulades depend upon the scale and the broken chords. His aim was not a number of notes (he purposely rejected runs of octaves, sixths and thirds), nor any kind of mass-like effect, but clearness and perspicuity. At any rate, the clear unfolding of the peculiarities of the piano, in contradistinction to the orchestra, was the right way to the development of technical skill on the piano."

"But the principal importance of the concertos lies in their musical purport. In their conceptions and treatment, they exhibit great dash and perfect freedom; it is clear that it was not only the greater and more important means which called forth a corresponding degree of mental activity, but that Mozart felt the more pleasure in giving free scope to his powers, because he used to perform these compositions himself. The fact of their being concertos, destined to produce an instantaneous impression on the public, explains, also, why he allowed himself more liberty here than anywhere else in the employment of strongly exciting means of expression, and it is a very characteristic trait, that he endeavours to produce this effect, not by virtuoso-like effects, on the piano, but by the increased charm of musical expression."

Section 13 treats at length of the violin-quartets and quintets. The author has already spoken, in Vol. III., of Mozart's relations towards Joseph Haydn, from which, as a sign of the highest respect, sprang the dedication of the first six quartets to that master. These belong to those compositions which Mozart wrote, without any immediate external cause, not to order, but for his own satisfaction. Jahn first enters on the essential elements of the quartet—as he does afterwards of the quartet generally—and on the peculiarities of these compositions of Mozart for chamber-music. Without subjecting them singly to a strict analysis, he gives us, in general touches, an excellent and characteristic account of them. It is only the U major quartet

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