his voice from him as they would his good name. By such a course, he would do justice to himself and to his profession, and confer a benefit on all who can enjoy good music rationally.

Colchester(Froma Correspondent).—The third popular concert of the new series took place in the Public Hall last evening, and was in every respect successful. The hall was filled, while the utmost order was maintained throughout. The programme was of the usual diversified character, the most noticeable piece being Haydn's Toy Symphony, performed by two violins and a violoncello, with accompaniment of penny whistles, Dutch trumpets and other toy instruments. The symphony, though composed by the great musician expressly for the amusement of children, was very successful last evening in affording amusement to hearers of a larger growth. The duet "What are the wild waves saying?" and the song "I cannot mind my wheel," were cleverly sung, and a selection of instrumental music performed in excellent style.

Glasgow.— The City Hall Concerts maintain their popularity. Change is ostensibly and necessarily the order of the day. From the commencement the Union have seen this, and, consequently, scarcely a night pastes without some change, while once a month we have a clean bill of fare. On Saturday last the principal attraction, and for one night only, was Miss Rebecca Isaacs, from Drury Lane and the Italian Opera. We confess, we have listened to her in better voice; nevertheless, her performances were rapturously received by tlio large audieuce. Mr. Fraser is decidedly the genteelest comio vocalist, we think, yet brought forward at those entertainments. Mr. D. Lambert, by his performances, did not belie his metropolitan celebrity, while the band of the Royal Sussex Militia kept most excellent time and tune.— Glasgow Gazette, Dec. 24th, 1859.

Worcester.—The performance of the selection of Handel's Messiah, at the Music Hall, passed off exceedingly well, and added another laurel to the many already won by the indefatigable secretary to the Harmonic Society, the Rev. R. Sarjeant, by whom, and the active members of a committee, all things were arranged. The attendance was very large, there being nearly 700 persons present, tho majority of whom were connected with the manufacturing establishments of the city. 'The performers were local, with the exception of Miss Amelia Hill, of Birmingham, who acquitted herself wit h great credit. Messrs. Mason and Briggs, of the Cathedral choir, and other gentlemen, aided the managers of the concert with their presence, so that each department was rendered complete. Mr. Jabez Jones ably officiated as conductor.

Ryde(From a Correspondent).—On Christmas Day a new mass, by Dr. Holloway, M.A., of this town, was performed, for the first time, at St. Marie's Catholic Church. The composer himself presided at the organ. Considering that the music is somewhat chromatic and elaborate, the singers deserve much credit for the careful manner in which it was executed. The cornet-playing of Mr. H. Austin was instrumental in no small degree in promoting the success which attended the first performance of a new work of no small difficulty. ,

BUST Criticism.Aecrington Choral Society.— This society gave, for the first time in Aecrington, Haydn's grand oratorio, The Creation^ on Friday evening, December 23rd, in the Assembly Room of the Pec Institution. The audience, as usual in concerts, was large, being composed of the elite of the town. The principal vocalists were Mrs. Sunderland, Mr. Lockey, and Mr. Weiss; principal instrumentalist, Mr. Carrodus. We liave seldom heard Mrs. Sunderland in finer voice. She is au exception to the generality of those designated " stars," for her pronunciation was so distinct and clear—her words so well expressed—that we were not only enabled to admire the beauties of the music, but the sentiment of tho poetry. We do not know anything so much overlooked in various oratorios as tho clear pronunciation, which, to our ear, is one of the greatest beauties of correct singing. When the pronunciation is associated with musical ability, its effect finds its way both to the head and the heart of the audience. Mrs. Sunderland in this particular is a pleasing exception. Uer voice, her gesture, her general intonation in tho solo, "The marvellous works," appeared to us to be the climax of sublimity. Mr. Lockey, although not possessing that graceful gesture which distinguishes Mrs. Sunderland, yet the correct taste he exhibits, blended with his line broad tenor, in a great measure compensates for what is wanted in gesture. His rendering of tho air "Now vanish before the holy beams," was a gom, and it fully developed his musical abilities. We should be glad if Mr. Weiss would dispense with that stiff atti

tude which appears so ungraceful in singers. It is a matter of surprise that that gentleman, possessing great musical abilities, combined with excellent voices, admirably adapted for the part they take, should neglect such an important eloment as correct gesture. If they would devote a little more attention to the study of nature, observe the various abilities and intonations of voice, as expressed in the development of the passions, such as grief, ansjer, and joy, and combine theso natural intonations with correct musical taste, then what a wonderful effect would be produced upon un audience, to what refinement it would lead in this particular branch of art, which at the present time is so much cultivated by all classes. In spite of these drawbacks, it would be unpardonable were we to say that there was nothing attractive in the singing of Mr. Weiss. The air, "Now Heaven iu fullest glory shone," was highly appreciated by the audience, and his powerful bass voice was fully developed. As regards the chorus singer and instrumentalists, it would not be right on our part to begin to distinguish—there was such a just appreciation of the composer's idea, such a unity of action from ail the members, numbering upwards of 160 perforuiers, that we do not feel inclined to select any one for particular criticism. Great credit is due to Mr. Barnes, tho conductor, whose fine conception of taste, and just execution, are so well known to the musical world. It is really pleasing to note the great improvement that has taken place of late years in reference to the working peoplo's taste for sacred music A few yoars back it was considered a prodigy to hear or see any working man take part in Handel's Messiah, Haydn's Creation, or the compositions of Moxart. Not so now. In every town where the population numbers 10,000, a choral Bociety may be found, whose instrumental and vocal performances exhibit a correctness of taste which, a few years ago, would have been applauded in any aristocratic saloon. This proves that the people are growiug more refined in their taste for tho sublime and beautiful.

[We have copied the above from the Bury Guardian, because it combines with its extreme oddity another welcome proof of the continued advance of musical taste in this country.—Ed.]

Windsor Castle.—The choristers and the following gentlemen of the Chapel Royal, St. George's, viz.: Messrs. Mitchell, Bridgewator, Knowles, Marriott, Dyson, Whiffin, Bransome, Baraby, and Lambert, under the direction of Dr. Elvey, had tho honour of singing before Her Majesty, at Windsor Castle, on Saturday, the 24th.

(From Dwight's Journal of Music—Boston).

Oce readers have, many of them at least we hope, some acquaintance with an English work known as Moscheles' Life of Beethoven, the name of the real author not appearing upon the title-page. That author is in fact the above named Anton Schindler, and the body, of the English work is but a translation from the German. Schindler's, first edition appeared at Miinster, in Westphalia, in 1840 j a second with a few odditions iu the appendix, in 1845; and now in October, 1859, a third, " re-written and with additions."

Schindler has for more than twenty years been one of the "best abused " men in Germany. In how far he has deserved the treatment which he has received from Spohr, Mendelssohn, Dorn, and from the portizaus of each in the German musical world, it is not our purpose to inquire. He has certainly never hesitated to express his opiuion as to tho manner in which thoso great musicians have thought proper to conduct Beethoven's works at festivals, and in terms perhaps more remarkable for plainness than politeness. Musicians iu all parts of Germanywill warn you against Schindler, as being unworthy of credence—and yet whoever writes upon Beethoven plunders him! From a prettyextensive examination of the musical literature of Germany which can by any possibility throw light upon Schindler's statements, not excepting tho controversies, which have appeared between him and others in the Kolner Zeitung, and other non-musical newspapers, we venture to say, that as Wegeler and Ries' Notisen are the grand fountain of our knowledge of the younger years of the great composer, so Schindler's book is the most important work upon his later years. As biographical authorities, the books of Lenz and Mazx are contemptible. This new edition of Schindler's work is a new addition to our knowledge of Beethoven, and contains very much important and interesting matter. And precisely because it is so important aud

Biographic von Ludwiff van Beethoven, verfasst von AltTOlf Schindleb. Dritte, neu bearbeitete und Vermehrte Auflage. 2 vols. 8vo. Miinster, 1860 (59),

interesting, and because we hope it will yet find its way into'the world in an English dress, we propose to give our readers the means of correcting certain mistakes into which the author has fallen.

Sehindler lives near Frankfort-on-the-Maine. He has there revised his work and prepared it for the new edition. But Beethoven lived and died at Vienna, and no one, who has not by long-continued labour collected thesoattered authorities in that city,can hope to write of his early life, the period of his great productiveness and activity, without falling into many mistakes. When Sehindler speaks from his own observation aud experience, we are rarely, if ever, able to correct him: in all other cases he is as liable to be misinformed as any other, who writes without the foundation of broad and comprehensive research. We repeat: because we think so highly of the importance of Schindler's work, it is that we give the following list of some of the principal errors into which he has fallen.

Vol. I, p. 3. For the spider story, see Disjouval's Arachnologie, or Schilling's Lexicon tier Tonkunst, where it will be found it rests upon a mistake, confounding the names Berthaume and Beethoven.

P. 4. Sohindler supposes Neefe had left Bonn and settled in Frankfort in 1782. The fact is, that Neefe was there only by leave of absence for a short time, Bonn remained his home until August, 1796—nearly four years after Beethoven had left it for ever. This is important, as at once clearing up divers mystifications, in which Sehindler is here, on pages four and five, involved.

P. 6. Sehindler is a year too late in the date of the publication of the rfaldstein Sonata, op. 63,— for 1806 read 1805.

P. 10. The Sonatas copied into Bosslers' Blumenlese, Mr. S. thinks are utterly lost. We have reason to think they are the three youthful Sonatas of which we know one copy of the original edition is to be teen in the Royal Library at Berlin, and which have, within a few years, been reprinted, both in that city, and by Holle, in WolfenbQttel.

P. 11. Note. The variations on a March by Dressier, we have reason to believe were written when the author was twelve years old, and that they preceded the Sonatas, notwithstanding on the title-page of the latter we read "by Louis van Beethoven, aged eleven years." Onr reasons for this opinion we rf serve for another occasion and place.

P. 44. Beethoven was in Berlin certainly in June 1796. That this was his first and last artistic tour is not correct, if Tomaschek may be trusted, who says expressly that Beethoven gave concerts in Prague in 1798.

P. 50. Mr. S. says, (referring to his catalogue, pp. 56, et seq.,) "It may be taken for a certainty that no one of the works noted farther on was written before the year 1794." To this we simpiy sav Aere, "doubted."

P. 54. Mr. S. doubts the anecdote related by Reis, that the Trios, Op. 1, were played in the presence of Haydn, before they were published, on the ground that the great composer left Vienna in 1794, and the Trios appeared while he was still in England, in 1795. Haydn left Vienna, January 19, 1794, and Beethoven advertised his Trios to be printed by subscription, May 15, 1795. This is true, and yet we trust Ries in this ease, and that they were already written and played to Haydn before the close of 1793. We have no space here for our reasons.

PP. 55—58. In regard to the date of publication of at least half the works mentioned on these pages, Mr. S. is a year out of the way.

P. 57. The first performance of the first concert for pianoforte in C, says Mr. S., was in spring, 1800. We know of its having been performed in public twice during the year 1795. It was the second concerto which was given with the septet and first symphony.

P. 78. The ballad, "Prometheus," greatly extended in form by Vigana, with much selected music, instead of and in addition to that of Beethoven, was produced at Milan, May 22, 1813, from whence it weat the round of the principal theatres of Italy.

P. 93. As to the Christus am Oelberg (Christ on the Mount of Olive*), Ries says expressly, that Beethoven was putting the finishing touches to it upon his arrival in Vienna, in 1800,(in the spring). Sehindler intimates that it was not performed until 1803—probably correct— and then only once given. We know of three performances of it within the space of a year—from April, 1803 to April, 1804.

P. 95. Mr. S. says, that the " objects of Beethoven's autumnal love

wa« well-known to him," and that she was Marie L. P r (Pachler).

He i« nevertheless mistaken. The "autumnal love" dated, as Mr. S. shows upon the same page, at least five years before 1816. We know that Beethoven had a project of marriage in his mind in 1810, from another source — and this must have been with the object of the "autumnal love"—»'. e., when he was thirty-nine years of age. "Mark how plain a tale," he. In 1810, Miss Eoschak was sixteen years old, at the age of twenty-two — in 1816 she married Dr. Pachler, and

in 1817 came, for the first time, to Vienna! while Beethoven never was in Gratz, her native place.

P. 97. The date of the letters to Julia Gruiciardi was 1801. Of this we have proof.

P. 99. Mr. S. dates the first performance [el the second symphony, and the C minor P. P. Concerto, July, 1804. 1 hey were both given in the spring of 1803. Before that?

P. 101. We understand Mr. Sehindler to ma'.;r Bernadotte ambassador to the Austrian Court in 1804 or 1805. In fact, he reached Vienna in February, 1798, and left April 16 follow

P. 112. "The American ship-captain Bridgetower." What oan Mr. Sehindler mean? Bridgetower liad been a "wonder child" as violinist, and came to Vienna as a virtuoso, and indeed one in the service of the Prince of Wales (George IV.). Rudolph Ereutzer was not in Vienna in 1805, so far as we can learn—had been there soven years before. As to the variations, op. 35, they preceded the Heroic Symphony—they were not " elwat spater," (somewhat later).

P. 118. Paer and Beethoven were at work, the one upon his Leonore, the other upon his Fidelia, at the same time—although Paer produced his a year in advance of the other.

P. 119. Beethoven's opera was never named Leonore upon the theatre bills—we have seen all that belong to the years 1805-6. Perhaps upon the large street bills, but this we doubt.

P. 126. "So rested the opera again, and again full eight years passed," before it came upon the stage. Not at all; hardly a year of the eight in which it was not given, and in fact several times.

P. 140. "Of the grand works, except the Sonata in F, Op. 55, in this year (1806), none appeared." Our list gives the following :— Sonata in F. op. 54. Trio for two oboes and English horn. Trio arranged for stringed instruments. Andante Favori, in F 3-8.

Noe. 1, and 2, and 3, of six gr sonatas for pianoforte, violin,

and violoncello, op. 60. No. 1, 2, of three grand Trios, op. 61. 16 variations for pianoforte, violin and viol oncello, op. 44. Sinfornia Eroica. Quite a difference between us and Mr. Sohindler. P. 141. Four symphonies in one concert! An error, as we think. P. 184. Beethoven was not in Linz in the spring of 1812, and the memory of Count Brunswick (who is the authority), has here failed him and misled Sehindler. But the passage is worth translating. " According to his account (Brunswick's) written me in 1843, the composition of the Buins of Athens falls into the first month of the year 1812; at the same time the plans of the two symphonies (7th and 8th), of which the eighth, in F, was wrought out during Beethoven's to his brother Johann, in Linz, in the spring. Thence he journeyed to Teplitz, where the overture to King Stephen was written. After his return, the strengthened master went to work upon the symphony in A, No. 7." Now it is curious to see how many errors can be oontained in so few words.

1. Beethoven was not in Linz, in the spring of 1812,

2. Both the Bains of Athens music, and that of King Stephen, had been composed, sent to Pestb, rehearsed, and made ready for performance on the 9th of February.

3. The eighth symphony was not written out in the spring of 1812, at Linz—as Beethoven was not there!

4. The seventh symphony was not written out after Beethoven's return from Teplitz, having been already finished before May 8, 1812.

6. The overture to Eing Stephen was not written in Teplitz, 1812, having been performed six months before, and not in Pesth alone.

6. The first notice of the eighth symphony is in a letter of Beethoven, written in the spring of 1813.

PP. 207—212. These six pages of the dates of first performances and publication of works by Beethoven, contain many inaccuraoies of more or less importance; the more important ones, however, may be corrected from the foregoing.

Having now reached the period at which Mr. Sehindler made the acquaintance of the great master, we have only to thank him for the amount of valuable and iutcresting matter which he gives us in relation to Beethoven's later years. One curious mistake, however, we cannot pass over without notice.

In Vol. II., p. 129, is a note from Beethoven to Stephen von Breuning, which was sent with a picture of the composer. "Behind this picture, my dear good Stefien," &o.

This note Mr. S. dates 1826, and says the picture was the lithograph, by Stieler. In fact, the picture is a miniature on ivory, and was presented to Breuning before 1810.


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In giving a final answer to the calumnious statements of Messrs. Chappell and Co., Boosey
and Sons would like to know what right these gentlemen have to constitute themselves their critics,
and to subject them to the expense and trouble of answering a series of malicious libels, which,
were it not for the delay, Messrs. Boosey would respond to only in a Court of Justice.

Although confident that the animus of Messrs. Chappell's attack, and the absurdity of
their statements, will be thoroughly appreciated—still, to avoid all possible misunderstanding,
Messrs. Boosey beg again most distinctly to deny having ever published a testimonial obtained
from the exhibition of an Alexandre Harmonium. Every testimonial which they have published
(with two exceptions,) has been given since the establishment of their own manufactory, and
after the examination of a large stock of instruments. The two exceptional testimonials were
given to Mr. Evans, when he introduced for the first time his improvements, and which, as already
stated, were added to the skeleton of an Alexandre Harmonium, which he had entirely
reconstructed. If these alterations consisted in filing the reeds, it is quite obvious that
M. Alexandre, or any other maker, could produce equally good instruments as those of Mr. Evans,
which, hitherto, they have not been able to approach. ,

The public may not care to know anything about Messrs. Boosey's manufactory, but as
Messrs. Chappell have alluded to it, it is necessary to state that it was opened in January last,
when Messrs. Boosey's connection with Mr. Evans began. Owing to the very great demand for his
Harmoniums, it had to be removed to more extensive premises in October—a fact which will
account for Messrs. Chappell describing it as a few weeks old, and for their animosity in attacking
Evans's Harmoniums.

As to Herr Engel, Messrs. Boosey and Sons repeat, what they are prepared to prove,
that he offered them his exclusive services to perform on Evans's Harmonium at the termination
of his engagement with his present employer, M. Alexandre, in February next; a fact which
they alluded to, not as a compliment to their Harmoniums, but as a proof of the worth of any
opinion of Herr Engel, whose impudent assertions, that Messrs. Boosey applied to him for a
testimonial, and admitted to him that Mr. Evans exhibited an Alexandre Harmonium as his own,
are totally without foundation.

In order to understand the value of the authorities quoted by Messrs. Chappell in support
of their calumnies, it should be known, that not only is Herr Engel the salaried agent of M.
Alexandre, but Dr. Rimbault (whose name is so much paraded) is regularly in the employ of
Messrs. Chappell, while the English Professors, who, so anxious for the truth, are said to have
examined the French and English Harmoniums side by side, have never once visited Holies Street,
to inspect the instruments of their countryman, and have therefore formed their opinion upon
any specimen of Evans's Harmoniums which Messrs. Chappell have thought proper to submit to

In conclusion, Messrs. Boosey and Sons beg to state, that feeling perfectly satisfied with
the opinion which the public has already pronounced on Evans's Harmoniums (and Avhich is
shared by every independent member of the Musical Profession) it is their intention to avoid
further discussion, treating with silent contempt these attacks, the object of which is so

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