"ths Wobth Op Abt Appeaes Most Smdtent Is Music, Bikcb It Bequibes Ko Matebial, Ko Stjbject-matteb, Whose Effect Must


SUBSCRIPTION:—Stamped for Postage, 20s. per annum—Payable in advance, by Cash or Post Office Order, to B00SEY & SONS, 28, Holies Street, Cavendish Square.

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HER MOST GRACIOUS MAJESTY THE QUEEN, H.R.H. THE PRINCE CONSORT, I ROYAL HIGHNESSE8 THE PRINCESSES AND PRINCES OP THE ROYAL FAMILY, The Most Worshipful the Grand Master of Ireland, His Grace the DUKE of LEINSTER, And Several other Distinguished Frtemasons: His Excellency the Lord Lieutenant of Ireland, the EARL of EGLINTON and WINTON. The LORD BISHOP OP MANCHESTER, The Bight Worshipful the MAYOR OF MANCHESTER, IViE MAGKIE, Esq. His Worship the Mayor of Salford, W. HARVEY, Esq. SIR FREDERICK GORE OUSELEY, Bart., Director of Music at tho University of Oxford. M many of the Nobility, Qenlry, Clergy, and distinguished Familiet of tht Empire.



Organised in 1S48, and developed at THE ROYAL COLLEGE OF MUSIC BRIDGE STREET. MANCHESTER, established by him expressly as a Groat National Institution to facilitate tho Encouragement and Promotion of NATIVE M08ICAL 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 Cossebvatoihes or Uvmc to bo established throughout tho United Kingdom, for Little CmLDRry, 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 tho humblest of schools of this country. To illustrate and to rouse an interest In every town and city for those Institutions, Dr. Mark travels with a number of his pupils occasionally through the country—giving lectures, and introducing his highly approved and pleasing Hwical Entertainment, entitled DR MARK AND HIS LITTLE MEN. who number upwards of Thirty Instrumentalists, and a most Efficient Chorus, the wtole forming a most unique and complete Juvenile Orchestra, composed o( LITTLE ENGLISH. IRISH. SCOTCH AND WELCH BOYS, FROM PIVE TO 8iXTEE!C YEAR8 OF AGE, who play Operatic Selections, Solos, Marches, Quadrilles, Galops. Ac, and sing Song* *nd Choruses In a most effective manner, sod 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 VDr. Mark.

and Practical Instrumental and Vocal Classes )

MasteT of tho General Educational Department:\ «,r p0WKLL
Writing,Rending,Arithmetic, Grammar, Dictation, ( andTwo
History, Geography, Practical Geometry, and Book- j AssUumt Teachors.

keeping . -'


Organ Mr. Baker.

. . (Herr Siemers.

TMn°forte \ Mr. Elder.

„. ,. | Mons Roguish.

Vioha (Mr. Beard.

Violoncello, Double Bass, and Viola { Mtmt. Dottovakt*'

Flute, Piccolo, Oboe, and Clarionet Si','. Cortebi.

Cornet and other Brass Instruments Mr. H. Russell.

Concertina (German and English) Mr. ELDEn.

_ . _ (MessrB. Powell and

Vocal Classes j eli)er.

Dr. Mark has also made provision for the Orphans of tho Musical Profession possessing musical talent, who will find the above institution a happy home, and receive a moat effective general and musical education,, board, and clothing, free of all expense.

Little Boys, from five to nine years of age, apprenticed for thrco, five, or seven 'j a moderate entrance fee to cover the cxpousca of instrument and

Twelve appointments ready for Masters. Tor Prospectuses, apply direct to the Royal College of Music, Bridge-street, Manchester.

Dr. Mark is also opon to Engagements with his Little Men.

Dr. MARK bogs to invite the Parents and Friends, and all those interested in ois Enterprise and in the Education of the Youths of this country to visit his establishment. Visiting hours:—From Nine to Eleven, a.m., and Two and Four, p.m. Saturdays and Sundays excepted.

ST. JAMES'S HALL.—On Thursday evening next, March 8, to commence at 8 and terminate 1015. The VOCAL ASSOCIATION. —Presideut, The Right Honourable the Earl of Dudley. Conductors, M. Benedict and Mr. C. E. Horsley. Miss Arabella Goddard, Madllc. Euphrosyne Parepo, and Choir of 200 voices. Organ, Mr. BrownBmith. Miss Arabella Goddard will perform "The harmonious blacksmith," and "Where the bee sucks." Madllo. Farepa will sin*; the solos in Mendelssohn's Psalm, "Hear my prayer, OGod,"&c, Ac. The Choir wilj also perform the following Part-Songs, Ac, "Night, lovely night," F. Berger: "Rise, sleep no more," Benedict; "John Anderson my Jo," arranged by Hargitt; "Lullaby," H. Smart; "Forest home," Benedict; "TheEcho," G. W. Martin ; "Hear,holy Power," Auber; "TheNightingale," Mendelssohn; "The last rose of summer,' arranged by G. "W. Martin. Tickets Is, 3s, and 5s. each, at St. James's Hall.

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ROYAL VOLUNTEER BALL.—Under the immediate
Patronage of

Her Most Gracious Majesty the Queen.
His Royal Highness The Princo Consort.
His Royal Highue&s The Prince of Wales.
His Royal Highness The Duke of Cambridge,

Commander in Chief. Her Royal Highness The Duchess of Cambri dge. Her Royal Highntae Tho Princess Mary or Cambridge. Tho Royal Volunteer Ball will take place on the evening of Wednesday March 7th. the day on which Her Majesty will hold a CourtspeciaHy to recclvethe Officers of the various Volunteer Corps from the different parts of the kingdom. Tho Bali will take place in the New Floral Hal), Covent Garden. The list of the Ladies Patronesses through whom the tickets will be issued will be completed and announced, together with tho details of all the arrangements, in the course of a few days. >

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MADAME SAINTON DOLBY will return to London for the season ou the 10th March. All letters to bo addressed to No. 2, Hinde-street, Manchester-square, W.

MONSIEUR SAINTON will return to London for the season on the 10th M.-irch. All letters to bo addressed to No. 3, HindeBtreet Manchester-square, W.

THE LONDON CONCERT SEASON—Mr. C. M. SULK respectfully informs Musical Professors that he continues to undertake the arrangement of Concert*), Soirees, Matinees, as well as Programmes and Books of Words, at very moderate charges. Address 103, Wardour-streot, Oxfordstreet.

MR. ABRAHAM THOMAS (Basso, of Lincoln's Inn Choir) takes this opportunity of informing his friends and the public generally, that his Address is 01, Brunswick-street. Borough, S.E. Mr. A. T. having lost scleral engagements lately, through others of the same naino in the musical profession, feels it his duty to ;tdvertise his residence.

Tlf R. ELLIOT GALER has REMOVED to St. John's

Xyx Villa, Junciion-road, N.

MDLLE. MARIE WIECK. Pianist.—Letters respecting engagement* for concerts and lessons to bo adJrossed, H, Leinster-square, Hydo-paVk, W.

MR. T. SCOTSON CLARK is in town for the season.— Letters respecting lessons orengflgements for the pianoforte or harmonium to be addressed to aim, care of Messrs. Caappell and Co., 60, New Boud-street.

MISS AUGUSTA THOMSON begs to announce her arrival in London for the season. Letters to bo addressed to her at 24, Holies-street, W. .

rPO CHORAL SOCIETIES.—Great success of the per

JL forrarmces at the Town Hall, Leeds, Feb. 2o, by the Madrigal Society of "the Widow of Naii)," Oratorio by lAuripaintuer. The vocal scon?, orchestral and chorus parts are published by Wessel and Co., 18, Hanovor-fquare. Eachuumbcr to bo had separately, voice and piano.


V-/ (occasional deputy at St. Paul's Cathedral) is desirous of au engagement ou a Sunday (full choral service preferred). Address, Z. A., Brooks' Office, 21, Old Cftvendish-strcef, W.

MISS EMILY GRESHAM, Soprano. — Letters repecting engagements for oratorios and concerts, to be addressed, 20, Alfrcdterraco. Queen's-road, Bayswater. W.

MEYERBEER'S DINORAH AND STERNDALE BENNETT'S MAY QUEEN", aro Mas nightly at the CANTERBURY HALL CONCERTS. Comic vocalists—Messrs. George Hodaon (tho Irish comedian and mimic), W. J. Critchfloid and E. W. Mackney. Several interesting pictures are udded to tho Fine Arts Gallery. Tbe suite of Halls have been redecorated and beautified, and consl ituto ouo of the most unique and brilliant sights of the metropolis.


SIR,—-An action for slander having been brought by Mr. JEREMIAH ROGKRS, Organist of the Doneaster Parish Church, against Mr. BENJAMIN HAWTHORN, of, Doucaster, Pianoforte Tuner, I shall be obliged by your inserting in your publication tho Defendant's Apology, of which a copy is given below. I am. Sir,

Vory obedlentlj yours.


Doncsster, Feb. 29, 1660. Plaintiffs Attorney.

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[copt Of Apology. J

*'An action having been commenced against me by Mr, Jeremiah Rogers, for a slander uttered by me at the Doneaster Railway Station, on tbe 7th day of Juno, 1859, I hereby retract the slander complained of and withdraw all imputation on Mr. Roger's character aud conduct, and I apologise for having used/the words attributed to mo

"In consideration of all proceedings in this action being stayed, I agree to pay tho costs incurred by Mr. Rogers therein, such costs to be taxed in case of difference. Mr. Rogers is to be at liberty to use this document as he may think proper.

•• Dated this twenty-fifth dav of February, 1860.


"Witness to the signing thereof,

TUST PUBLISHED.—Eight Ballads by Adolfo Ferrari,

O price 2s. each :—









8. "I LOVE THE OAK," for contralto or barytone.

London: Dunem Davison and Co., 2*4, Regent-street, W., Where may be obtsintd Two Chamber Trios for soprano, mexzo-soprano, and contrnlto: "Come, sisters, let us dance and sing," 2n. Cxi. "Comi-, fairies, come, the stars shine bright," 2a. 6d. Three Italian Songs: "Vi'.'ui. Yield," serenade, 2s.; "L' onda oho mormora, romance, 2s. Gd.; "Ah, Bo piacur mi vuoi," romance, 2s.

"These ballads are beautiful com positions, thoroughly English in their style and character. The words, always selectod with literary taste, aro set to music with the utmost attention, not only to sentiment aud expression, but to all tho niceties uf accent and of proacdy."

"Tho two trio*, wldch aro for female voices, aud calculated for the accomplished lady-singers who aro now found in every social circle, aro among the most attractive drawing-room music that we have heard for along time."—Spectator,

"Sign err Ferrari's '* Eight Ballads" are, without exception, charming. They aro purely vocal, and they havo this precious quality—that the melody, in every instance, enables the singer to give the clearest an l moat expressive utterance to every word and syllable of the poetry. Where all are Bo good we find it difficult to pick out any of them for special notice; we may say, however, that the greatest impression on us has been made by "Sweet days of youth," with ita rich accompaniment; by "Swe; t hope," with it-* graceful aud expressive simplicity; and by "Long years of care," with its great tenderness.

"The two chamber trios aro both on fairy subjects, and are charmingly light and delicate. They are for female voices; and gracefully warbled by three sweetvoiced damsel!', aro truly fairy music. Of the Italian Songs it is sufficient to say, that "Vient, Vieni," a serenade, with elegant veriies. by tho accomplished Siguor Maggioui, possesses all the features which we have attempted to describe as characterising Ferrari's music."—Illustrated New*.

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"' Lurline'Opera in three acts, written by Edward Fitzball, composed by William Vincent Wallace" (London, Cramer, Beale and Cliappell; Leipsic, Schuberth and Co.)

Here we have the English text and pianoforte score of Mr. Wallace's new opera, which—as the first that has been heard from his pen since the production of Matilda of Hungary (with Mr. Bunn's memorable libretto), at Drury Lane Theatre, in 1846—presents more than ordinary interest. Lurline is said to have been in great part written as far back as twelve- years ago; but it requires no such apology, bearing evidence as it does—evidence that springs from a comparison between this opera and Mr. Wallaoe's previous dramatic works—of having been carefully reconsidered and retouched by the composer from end to end.

The questionable feature of Lurline is its libretto, which belongs to a class of melodramatic writing happily now effete. Mr. Fitzball has treated the romantic and famous legend of the Lurlei-berg after a manner peculiar to himself. In the legend, the heroine, deceived by a false lover, invokes the spirits of the Rhine, and consents to become the bride of the river on condition of being endowed with gifts of beauty and fascination that shall render her irresistible to man, whom hereafter it is her intention to lure into destruction by every means at her command. The compact is made, and Loreley, or Lurlei (Lurline) becomes the spirit of the whirlpool, with what mission it is unnecessary to remind our readers. Mr. Fitzball finds the lady a spirit, and restores her to earth. She sees Count Rudolph in a bark'on the river, falls in love with him, and tempts him to her abode beneath the waves, not to destroy, but, like Melusina, to cherish. Her vexed father (she has a father), the RiverKing, burning (or rather we should say freezing) to annihilate the rash mortal who has thus intruded on his domain, is frustrated in his desire by the amorous water-spirit, and at length persuaded to let Rudolph depart, loading him with treasures in the bargain, in order that he may be consoled for the loss of his beloved. Aware that the Count's affairs are by no means in good order, and that the emptiness of his purse has led to the rejection of his hand by Ghiva, daughter of a Rhenish Baron, the River-King judges—from a view of mortality, perhaps, common to water-spirits—that no sooner gone than, "out of sight out of mind," Rudolph will forget Lurline, and cast himself and his newly-acquired riches at the feet of the disdainful Ghiva. Lurline, however, with more faith, has promised to give her earthly admirer an interview at the Lurlei-berg, in the course of three days. On Kndolph's return to terra firnia (how he managed to live under water we are left to surmise)f the knowledge of his being possessed of untold wealth, acts in the way the River-King had suspected—at least upon one mortal, the mercenary Ghiva, though not upon Rudolph himself. He, poor wight, does nothing but sigh after his lost water-nymph, and actually snubs Ghiva, who, in despair, possesses herself of a ring which Lurline has given him as a pledge, and, in a fit of jealous rage, throws it into the Rhine. True to b er appointment, Lurline makes her appearance at the end of the stipulated period, and learning from a gnome (1) that Rudolph has parted with the ring (which, as the spirit of the Rhine, one might have thought she would be the first to know), gives way to unutterable anguish. In her subsequent interview with Rudolph, however, when matters are explained to her satisfaction, she once more, and for the last time, makes use of her supernatural power, invoking

the storm-spirits dependant on the Rhine to overwhelm a band of reprobates, who, recently guests of the Count, are now plotting his assassination for the sake of his gold, and ultimately persuades her watery sire, the good-natured, though somewhat illogical River-King, to approve her choice and resign her to her terrestrial lover. Fancy the old Rhine spirit with whom Henrich Heine held converse at Cologne, expressing himself in such terms as the subjoined :—

"Yes; thy fond father

To RudolphV hand here comcth to resign,

By love and fate decreed,

His child, Lurline, £ Boat treasure of the Rhiue!" [Joins tlieir hands.

And so, amidst a heap of elaborate vocal divisions, Lurline, "best treasure of the Rhine," expresses her sense of happiness, ami the curtain drops. If Lurline—which, we understand, was written many years since, may be regarded as Mr. Fitzball's last great work—his Requiem (it certainly cannot be accepted as his Transfiguration)—why, then, there might be an end of the matter, and no critic, however soured by operatic libretti, would have the heart to be severe; but if, on the contrary, further perpetrations of the same description are contemplated, it is as well to warn our composers that the time has passed for the toleration of such performances.

Such a jumble of spirits and mortals, with the special elements of either made apparently common to both—all the dramatis personce being, more or less, amphibious— could only have sprung from the brain of a Fitzball, and justifies the epigrammatic epilogue of a wag, that the mixture of earth and water in Lurline accounted for the muddiness of its libretto.

But let us pass to a more agreeable subject—the music of Mr. Wallace. Lurline is certainly this gentleman's dramatic masterpiece, and as f;ir superior to Maritana and Matilda of Hungary as the book of Maritana (not that of Matilda) is superior to the book of Lurline. Mr. Wallace has in every respect made progress—such progress as is rarely noted, indeed, between any two successive works of a dramatic composer. We find the old vein of melody as rich as formerly, with an increased knowledge of resources that gives it a tenfold value. The overture, in the broad and open key of D major, far surpasses, in clearness of design, and vigour of treatment, the orchestral preludes of Mr. Wallace's other operas. The instrumentation, too, is extremely effective, the combination of "wind" in the opening adagio, and the introduction, by the whole body of "strings," high and low, the double basses alone excepted, of the beautiful melody which, in the third act, stands as the theme of Lurline's prayer, being equally points to admire. The quick movement—like that in the overture to Weber's Oberon, although, the first subject is no more strictly akin to Weber than to the allsgro in Wagner's 'fiinnhauser-*is rather chivalrous than fairy-like. It is * vigorous and brilliant from end to end, and among many new touches of fancy may be noted the passage of rhythmical recitative given to the stringed instruments, ushering in the progression which leads back to the principal theme. The second theme (afterwards an episode in the romance of the " Night winds "—Act I) is essentially melodious, contrasts strikingly with the leading theme, and works in well with the rest. In short, Mr. Wallace in this overture has evidently written his best, and, earnestly bent upon success, j has attained it. Although we have only the pianoforte I adaptation before us, it may be as well to observe, once for j all, that the manner in which the orchestra is handled throughout the opera of Lurline, imparting colour to and heightening the dramatic sentiment of the various situations into which the chief personages are thrown, while engendering effects the occasional novelty and frequent beauty of which are sure to elicit the attention of musicians, confers infinite honour on the composer, and shows that his studies have been well directed in the long interval during which he has been condemned, in so far as the English public are concerned, to unmerited silence. The introductory symphony (in F major) at the rise of the ourtain, where the accompaniment of the violoncellos, to a melodious phrase for the horn, realises what the Italian musicians designate as "ondeggiando," at once suggests that we are about to be entertained with a spectacle in which some of the actors are fairies, and that the habitation of those fairies will, in all probabilty, turn out to be rather aquatic than terrestrial. Lurline's romance (Act 1), "When the night winds sweep the wave" (in A minor— already mentioned), a most original and beautiful piece in itself, offers, perhaps, the most remarkable example in the entire work of the fanciful treatment of the orchestra in which Mr. Wallace has shown himself so skilled an adept. The accompaniments to this are as uncommon as they are characteristic, and, at the same time, masterly.

The opening of the first scene (after the symphony to ■which allusion has been made) is somewhat ineffective. No one cares greatly for Hhinaberg (an odd name for a king who resides underneath the water), and no one cares a straw for Zelieck, the gnome (we thought gnomes were earth spirits), whom he wildly invokes in the bold and vigorous air, "Idle spirit, wildly dreaming" (in 1? minor). So that, however excellent per se, and however well given by Mr. Santley, the air and the recitatives that precede and follow it—the last being dialogue, in which Mr. Corri (the gnome) takes part—fall somewhat flat. The "otlver nymphs" (vide book) whom Mr. Fitzball summons "from their shells of opal" (no nymphs having yet appeared), in a pretty choral strain (" Hark, hark, hark,"—A flat) from behind, begin to awaken attention, and the graoeful yitosi-Weberish chorus (" King of the Rhine "—same key) with which, when before the footlights, they greet their dripping monarch, at once imparts life and interest to the scene. The apparition of Lurline, at the foot of a rock, singing to "an antique harp," the confession of her love for Rudolph, is illustrated by a brief concerted piece, in which the other personages, including Liba, a water-nymph (a part, wc may here add, very prettily played and very prettily sung by Miss Fanny Cruise, a young and promising beginner), are concerned. The first romance of Lurline ("Flow on, flow on, oh silver Rhine"—E major), in which she begs the river, the flowers, and the spirits to explain her sentiments to Rudolph, is based on a melody sure from its piquant, simple, and unpretending character to become popular, and, moreover, graced with florid cadences and a florid coda, or tailpiece, precisely fitted to the peculiar talent of Miss Louisa Pyne, who warbles it exquisitely. The chorus divides tho two couplets, and in the second verse the accompaniment is judiciously varied. A scene between Lurl ine and Rhineberg, in accompanied recitative—a form, by the way, into which Mr. Wallace (a task as difficult as it is thoroughly well accomplished) has thrown all those parts of the opera which would otherwise be spoken dialogue— leads to the delicious romance, "The Night Winds," already described, a revelation on the part of the water-nymph of the history of her love for Rudolph. The chorus that brings the first scene to an end (" Sail, sail, sail"—D flat), in which the

principal characters join, though spirited and appropriate, offers no particular point for notice.

In the second scene, where we have to do with simple mortals, the music assumes an essentially different character —as in duty bound. It sets out with a very admirably written duet ("Oh! Rudolph, haughty Rudolph"—D major) for the Baron Truenfels (carefully represented by Mr. Honey, as a decrepid old man, with bent knees and crooked legs) and Ghiva (Miss Pilling) his daughter. This duet, of which, as in many of those of Auber and other French composers, the orchestra claims the lion's share, the voices being often little more than accompaniments, contains a very charming episode, in which a passage occurs on the words, "Oh,"soft affection, to thy rest," equally to be admired for its melody and its harmony. The arrival of Rodolph (Mr. Harrison) brings some clever concerted music, conducting to a trio (A major):—

"I see by the gray of the sky
That morning is novr very nigb,"—

where the composer, by showing how it is not absolutely necessary that the music and poetry in a dramatic composition should breathe the same spirit, has upset the pet theory of Herr Wagner, who, in his Kunstwerk der Zukunfi, would fuse all the arts into one, and make them inseparable and dependent on each other. Although French in colour and in the turn of its leading phrases (the last especially— "Good night, sir, good night")—as, indeed, is frequently the case with the lighter music of Mr. Wallace—this trio may be unreservedly eulogised for spirit and scenic propriety.

The third scene (Rudolph's castle) opens with a drinking chorus, "Drain the cup of pleasure" (D major), in bolero measure, cheerful and animated, if not strikingly original, which owes no little of the favour it enjoys (it is always redemanded) to tho admirable singing of the chorus (men's voices, of course). Some effective concerted music leads to a romance, with chorus for Rudolph (" Our bark, in moonlight beaming"—D minor), which embodies the legend of Lurline, the Rhine-spirit. Here the ordinary method of treating such matters at the French Opera has not been discarded, notwithstanding which the romance has both character and merit of its own. Though decidedly simple, it is imbued with a feeling of dreamy mysteriousness,entirelyin.keeping with the sentiment conveyed in the text. The finale (beginning in A flat, and ending in F minor), sets out with a harp arpeggio, while snatches from the ballad, "Flow on, flow on, oh! silver Rhine," indicate the approach of Lurline, who shortly emerges from the river and mingles with the noisy guests of her lover. Placing the ring on his finger, which is to be a pledge of mutual faith, no less than a potent charm, and a safeguard in case of subtidal difficulties, she at length, in spite of opposition from Rudolph's associates, lures him into a skiff, which immediately disajjpears. Rhineberg, with "a host of spirits," is seen among the rocks, vowing vengeance against Rudolph: a storm arises; the skiff is supposed to sink beneath the waters, and tho curtain falls. All this is combined with vigorous, striking and picturesque music, and the result is a finale which brings the act to a climax in a thoroughly effective manner.

The second act (" Crystal dwelling of Lurline; doors of bronze") begins with a chorus of gnomes (" Behold, behold, wedges of gold," E minor), gloomy, savage„ and monotonous, as befits the singers, and leading to an unpretendingly graceful ballad for Lurline ("Under a spreading coral wave"— G major), which Miss Pyne sings charmingly. In the absence of Rhineberg, the water-nymphs disport themselves in dance and song to a very lively chorus (B flat major), at the end of which a compliment to the River-King's sagacity is conveyed in the following language :—

"Though lock'd in your breast, he the secret can find,
'Neath one beam of his eye your poor heart must unclose,
And out floats the truth like the bee from the rose."

This chorus interrupts and mixes with the ballad of Lurline. The sparkling music of Mr. Wallace, however, here once more controverts the dogma of Herr Wagner. Rudolph's debut as a vocalist under water is in a cavatina ("Sweet form that on my dreamy gaze"—B flat major), which, though it can boast an elegant melody, is even more strictly noticeable for the ingenuity of the accompaniments. Lurline's brindisi (with chorus), "Take this cup of sparkling wine" (E flat major)—which obtains an encore every evening, thanks to Miss Louisa Pyne's brilliant singing—is, in its chief feature, a sort of reminiscence of the old 'English nursery tune—" Girls and boys come out to play." The concerted piece (E flat minor and G flat major), where Liba and her companions avert the watchfulness of Zelieck, intrusted with the guardianship of his master's treasures, is animated and clever. The introduction here of snatches of the foregoing air is felicitous; and the drinking song at the end (there are too many drinking songs and choruses), "As in this cup the bead flies up" (G minor and major), while in some passages too florid for Mr. Corri's method of vocalisation, is eminently characteristic of the situation. Ghiva's ballad in the next scene ("Troubadour enchanting"—F major), almost primitive in its simplicity, is, nevertheless, extremely pretty and attractive. Miss Pilling (the new "contralto") sings it well, and, being invariably called for twice, it helps to lengthen the performance. A chorus of huntsmen ("Away to the chase"—E flat major) is one of the most vigorous pieces in the opera. The introductory symphony, with the unanticipated notes for various brass instruments, modifying the harmony of each section, is of itself remarkable, and the rest fully bears out the promise it entails. Bhineberg's ballad (B major), "The nectar cup may yield delight," (for which Mr. Santley's admirably expressive singing elicits an inevitable "encore"), is one of those model drawing-room ditties certain to gain the favour both of sentimental young gentlemen and sentimental young ladies, the especial delight of music-publishers, aud of which Mr. Balfe has invented the most admirable and popular specimens. The next piece—an "Ave Maria" (E major) supto be sung by Eudolph's friends in a boat on the for the soul of their comrade, whom they imagine dead, while Rudolph, from his subaqueous and supernatural abode, actually overhears them, and responds to their appeal, is of a very different stamp. Nothing could be more beautiful of its kind, more ingeniously constructed and impressive. The finale to the second act (chiefly in E major) is superior to that of the first. The incident is the return of the Rhine King, who, at Lurline's intercession, spares the life of Rudolph, and sends him back to his mortal home, loaded with treasures, amid the mutual despair of the lovers, who, resigned to fate, are still loth to part. The music here is thoroughly dramatic, and most skilfully composed, the grand passage of combination (or "ensemble") consisting of a large and energetic melody, upon winch (as in some of the operas of Donizetti and Verdi) is brought to bear the united power of chorus and orchestra, while the voice of the chief soprano (Lurline) predominates over the rest, in high, prolonged, and resonant tones, until the culminating point is attained (as by the same originals) in a broad phrase

of uuison, allotted to all the voices, choral and solo, and all the instruments except those of the lower register.

The third act (prefaced by a capital orchestral interlude—in which an episode belonging to the overture, in F sharp minor, is developed with much interest and skill)—although quite equal in interest to the others, must be more briefly dismissed. Rudolph's song, " My home, my heart's first home!" (A major) is another approved drawing-room ballad, inferior, however, to the one in which the Rhine King gives gushing expression to the sentiment of paternal love, and at the same time still more nearly shaped on some of tho specimens to which Mr. Balfo owes so many laurels. "Gold aud wine heal every care" (E flat major) is another extremely effective chorus for male voices, comprising, moreover, one or two novel points—as, for instance, the pauses at the end. As in the drinking-chorus(Act I.), and the hunting-chorus (Act II.), the execution of this piece confers the highest credit on the singers. Tho duet which follows, for Rudolph and Ghiva (B flat major), is, in a great measure—like the duet between tho baron and tho same lady (Act I.)—a display for the orchestra, in which the fiddles shine to their heart's (strings?) content, while tho voices are too frequently subordinate. It is clever, nevertheless, and would have more pretensions to be styled "original," but for the provokingly Auberish phrase occurring at the end of the second movement ("Telling of fond eyes that weep.") The short chorus of "stormspirits" (same key), that ensues upon Ghiva's casting into the Rhino the magic ring she has snatched from Rudolph's finger, may pass as a mere allusion. Lurline's grand scena (beginning and ending in F major), * Sad is my soul," which includes two beautiful slow movements—the second one (a prayer in A flat major—"Oh, Thou, to whom this heart") to the melody allotted the stringed instruments in the opening of the overture—and terminating with an extremoly spirited allegro (" As a bounding barque "), is a very striking composition, in which the voice-part and orchestral accompaniments are alike interesting, while the dramatic feeling is sustained with unabated vigour to the end. This is one of the capital pieces of the opera, and in it Miss Louisa Pyne exhibits her finest singing, whether expression or fluent execution be taken into consideration. Scarcely less effective, while equally well written, is the duet (commencing and terminating in A major) where Lurline first reproaches Rudolph for losing her ring, and then restores it to him. Abounding in passionate phrases, although somewhat too lengthy, for the situation in whicli it occurs, this duet never once flags in interest. Both the foregoing would gain by being placed somewhat earlier in the opera. There still remain to be mentioned a lively chorus with ballet (" Now with joy each bosom beating "— D major), at the opening of the last scene, which might have fallen from Auber's pen without raising a doubt about its genuineness; and last (in some respects best of all), the unaccompanied quartet, for Lurline, Liba, Rhineberg, and Zelieck (" Though the world with transport bless me E flat major), which in every respect fully warrants the enthusiastic reception it meets with from the audience. A genuine English glee, with florid passages and cadenza for the principal voice (Lurline), this quartet is attractive enough to have saved a weak opera, and may be accepted as all the more remarkable, considering the effect it produces alter so much that is excellent has gone before. In a word, it is a faultless example of vocal part writing, and everywhere as pleasing as it is ingenious. The finale to the third act is, according to precedent, the least ambitious of the

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