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having to sing in Sonnambula at Covent Garden, but not too late to achieve a triumph, which she did in a most unmistakable manner, both her songs being applauded "with enthusiasm.
The attendance was very large, and Dr. Wylde was honoured at the beginning and at the end with the customary ovations.
CRYSTAL PALACE. Two concerts have been given since we last wrote about musical doings at the Crystal. One took place on Saturday, the 16th ultimo, and was signalised by the first appearance this season of Mdlle. Piccolomim, whose attractive power appears as great as ever. Nearly five thousand people went out on a raw uncomfortable day, to hear the popular little lady warble some of her pet tunes. The new music hall was besieged at every point of access, and hundreds were content to remain standing during the entire performance, within reach of the faintest echo of the singer's voice. Mdlle. Piccolomini sang six times, and was encored four, all her solos being repeated. She gave "Vedrai carino;" anew valae "llbacis," written for her by Signor Arditi; the brindisi from La Traviata; the duet " La ci darem," with Signor Aldighieri; the duet, " Sulla tomba" (Lucid), with Signor Belart; and Martini's laughing trio, "Vadasi via di qua," with Signor Belart and Aldighieri. Signor Belart, in addition, sang the romanza "Maria Sperando" from the Figlia, and the air "Ecco ridente" from the Barbiere." The first was charming, the latter wanted more breadth and power of voice. Signor Aldighieri does not overflow with humour. His " Largo al factotum" is not humorous. The band, under the direction of Signor Arditi, played the overture to Martha; and Signor Giraldoni played a fantasia on the contra-basso.
At the concert last Saturday, Mdlle. Parepa, who had not appeared at the Crystal Palace since she was a member of Mr. Gye's Italian troupe, was the vocal star. She sang a scena by Benedict, and the "Shadow song," from Dinorah, both with great brilliancy. The latter was encored, and Mdlle. Parepa repeated the coda. Miss Lascelles sang the contralto song from Dinorah, "Fanciulle che il core," and joined Mdlle. Parepa in Mendelssohn's two part-songs, "I would that my love" and "May Bells," both of which were taken too slowly.
Mias Lascelles was announced to sing Balfe's " Reaper and the Flowers," but Mr. Manns apologised for the lady, who was suffering from hoarseness. Tne symphony was Haydn's in G, one of the best. The minuetto contains as bold and extraordinary- syncopation as anything which Beethoven has written, and tne work generally .has less of the antique about it than many of the composer's orchestral compositions.'of this class. It was well played, as, indeed, were the accompaniments throughout the programme. The brothers Louis and Adolph Ries (violin and pianoforte) joined in a duet by Wolff and Vieuxtemps on Don Oiovanni, and each played the first movement of a concerto, that for the pianoforte by Ferdinand Ries, and that for the violin by Felicien David. M. Hector Berlioz's fanciful "Carnaval Romain" overture brought the concert to a conclusion, to quote a Sunday contemporary, with due clangour.
To-day, Mendelssohn's operetta, Son and Stranger, will be performed entire.
Mr. Henrt Leslie's Choir.—The second concert took place on Thursday evening week, when, notwithstanding the counterattraction at Covent Garden—it being the first night of Mr. Wallace's new opera—St. Martin's Hall was crowded in every part. The selection comprised—madrigal (Dowland), "Fine knacks for ladies ;" part-song (S. Reay), "The clouds that wrap the setting sun ;" madrigal (Weelkes), ""Welcome, sweet pleamre;" madrigal (T. Morley), "What saith my dainty darling;" part-songs, for small voices, "Evening" (Henry Leslie), and
The arrow and the song (Macfarren); solo and chorus (Purcell), " Come, if you dare;" madrigal (G. Croce), "Cynthia, thy song and chaunting;" glee (W. Horsley), "See the chariot at hand;" madrigal(Wilbye), "Stay, Corydon;" part-song (Benedict), "Home, sweet home;" glee (J.Elliott), "The bee, when varying flowers are nigh f part-song (F. Mori), "Welcome,
heavenly peace;" part-song, for male voices (Mendelssohn), "Eastern drinking song;" cradle-song (H. Smart), "Lullaby, the winds are singing;" and madrigal (Saville), "The Waits." A more admirable selection Mr. Leslie never gave at any former concert. Every piece was applauded, and encores were awarded to Weelkes' fine madrigal, "Welcome, sweet pleasure;" to Mr. Leslie's part-song for male voices; to Horsley's glee, "See, the chariot at hand;" to Mr. Benedict's part-song, "Home, sweet home;" and to Elliott's glee. Mr. Macfarren's part-song, " The arrow and the song"—one of the most beautiful and masterly things in the selection—was loudly applauded, and might have been repeated without any strain on the inclinations of the audience. Several of the pieces were given for the first time by the choir, whose performance was entitled to the highest praise in almost every instance. In the course of the first part Mr. J. C. Ward executed Spohr's fugue in C on the organ.
Mr. Ransford's Annual Concert.—That old favourite of the public, Mr. Ransford, gave his annual concert on Tuesday evening, at St. James's Hall, to one of the most crowded audiences of the season. It was his first appearance in public since the severe accident which so disabled him from giving his nautical entertainment, announced some time back under the title of " The Tales of the Sei." The benlficiaire sang, with great spirit, Dibdin'a "Tom Tough," with other of his popular ballads, in his usual vigorous and manly style, and, with his daughter, the duet, "Oh, tell me, gentle stranger," which was loudly encored. Mr. and Mrs. Weiss sang solos each, and a duet. Miss M. Collins gave the ballad of "Tripping down the lane." Miss Kansford afforded her admirers an opportunity of hearing her sweet and powerful Voice in an Italian aria, and one or two English songs. Miss Palmer, Miss Leffler, Mad. Vinning, Miss Laura Baxter, with several other singers, likewise gave specimens of their vocal abilities. Miss Arabella Goddard performed Benedict's fantasia, "Where the bee sucks," with brilliant success. She afterwards played a new and brilliant fantasia, by Ascher, on the "Shadow song" from Dinorah, which was one'of the gems of the concert. It was unanimously encored. Mr. Viotti Collins gave I-La Clochette" in first-rate style. Messrs. Lazarus on the clarinet ;sPratten, on the flute ; and Blagrove, on the concertina, executed solos. A portion of the band of the Coldstream Guards, under the direction of Mr. C. Godfrey, performed several popular morceaux. The concert afforded great satisfaction to Mr. Ransford's numerous patrons.
London Quintet Union.—This new society, under the direction of Mr. Willy, gave the first of a series of four concerts, at St. Martin's Hall, on Tuesday evening. The members of the Union comprise, in addition to Mr. Willy, Mr. Westlake (second violin), Mr. Webb (tenor), Mr. Pettit (violoncello), Mr. Reynolds (contra-basso), and Mr. Maycock (clarinet). The instrumental part of the programme of Tuesday's concert included two quintets by Onslow—A minor, Op. 34, and D, Op. ] 8; Mozart's pianoforte quartet in E flat; and Weber's clarinet quintet in B flat. One of the quintets of Onslow might have advantageously made way for Beethoven, Spohr, or Mendelssohn. Mr. Willy, probably, has some special object in view which inclines him to favour this semi-Gallic composer. We infer this, not merely from the two quintets of Onslow given at the first concert, but from two others being announced for the next. "Verily," as a morning contemporary observes, in an execrable pun, " this favour shown to Onslow is not the way for the London Quintet Union to get1 on fast." Mr. Willy and his coadjutors did their utmost to recommend them to the hearers. There was applause certainly, but the applause was bestowed rather on the excellent playing than on the music. Weber's quartet is brilliantly written for the clarinet, but by no means an inspiration. Mr. Maycock played capitally, exhibiting fine execution and a clear sound tone. Mozart's quartet was the instrumental gem of the evening, and executed d merveille by Miss Arabella Goddard, Messrs. Willy, Webb, and Pettit. The last movement elicited a round of applause. _ Miss Goddard also performed Benedict's sparkling and admirably effective fantasia, "Where the bee sucks," with wonderful brilliancy and delicacy, and was honoured with a tumultuous recall. The vocal music, in consequence of the sudden indispooition of Miss Lascellea, was restricted to two songs by Mr. Sims Beeves, " Adelaida," and "The last rose of summer," both of which he sang with consummate beauty of voice, and a taste and expression entirely his own. He was encored in both, but only returned to the platform to bow. We doubt if we ever heard Mr. Sims Reeves siug " Adelaida" more admirably. Miss Goddard accompanied him on the pianoforte, and by her expressive and perfect playing added materially to the effect. It was, indeed, a duet between two consummate singers. Air. Lindsay Sloper accompanied Mr. Reeves in the Irish song, how well we need hardly say. The hall was well attended.
Mr. Howard Glover's Concert.—Mr. Howard Glover's Annual Morning Concert at Drury-Lane Theatre (crowded to the roof) was almost as long as the speech in which the Chancellor of the Exchequer unfolded, one by one, the items of his budget for I8601; but, as in the instance of that Remarkable and eloquent address, the many things to be said were perfectly well said, and, moreover, as in Mr. Glover's case there was no "opposition," his success was unequivocal. The programme comprised upwards of 40 pieces, in the elucidation of which the majority of the musical talent now in London was called into request. To attempt anything like a description of such an entertainment (which required no fewer than four eminent conductors—Messrs. Benedict, Lindsay Sloper, F.Berger, and Alfred Mellon, besides Mr. Glover himself, to direct) would be out of the question. Enough that the regularity and skilful management which invariably distinguish these enormous musical "pasticcios" were as apparent as at former anniversaries. The only disappointment experienced was in the unavoidable absence, on account of indisposition, of Signor Belletti. We cannot even record the names af the singers, with Mr. Sims Reeves, Mr. Weiss, and Mr. Wilbye Cooper at the head of the head of the gentlemen, and Madlle. Parepa, Madame Rudersdorff, and Miss Palmer (our most rising "contralto") at the head of the ladies, much less glance, however rapidly, at the innumerable pieces set down for them. In addition to the plaintive and beautiful song to Shelley's stauza, " I arise from dreams of thee" (Mr. Sims Reeves), and two graceful and thoroughly charmingnewballads, "A sweet good night," and " The violet" (Madame Rudersdorff), from the pen of the concert giver, the programme included his dramatic and vigorous overture to Comala. An efficient band being thus at disposal, one of Haydn's genial and masterly symphonies was also put down. There was several instrumental displays, among the rest a solo on the violin by Herr Molique, and another on the clarinet by Mr. Lazarus. Especial mention, however, is due to Mr. Glover's youthful and very clever pupil, Miss Emma Green, who, in Beethoven's first (and too much neglected) pianoforte concerto in C (with a masterly cadenza composed expressly for her by her instructor), exhibited a marked advance both in style and execution. Miss Green's talent is worth serious cultivation.
Dbatu Of Mr. Iiaydn Corri.—With regret wc announce the demise, on Saturday, the 12th ult., of the above well-known and clever artiste, both as a composer and teacher of music, in Dublin, where ho had been settled for many years. Mr. Corri was son of the celebrated Domenichino Corri, who composed the once popular opera of The Travellers, in which the elder Braham, in days of yore, used to excite the utmost enthusiasm by his splendid singing of " He was famed for deeds of arms," and was brother-in-law of Dussek. Mr. Haydn Corri held the responsible post of organist to the Cathedral in Dub lin, Great Marlborongh-street, for years, where many of his sacred works were performed. Cherubini wae Baid, with what truth wo will not Touch, to have intrusted Mr. 11. Corri to arrange for the organ from the great score for orchestra, his famous Mass in D, composed for the Coronation of Charles the Tenth, and to supply an additional voice part, which he did to his entire satisfaction. Mr. Corri has left a numerous family, some of them occupying important positions in the musical world. His talented sons, Henry, Pat, and Master Corri, are well known to tho theatrical and musical world. Mr. Corri died at the advanced ago of seventy-rive. He was beloved and respected by his numerous friends and pupils, who havo heard of his death with deep regret.
Witt is Mrs. Howard Paul like a twenty pound note 1 Because she u the " double" of a " tenor."— I'unch.
MUSIC AND THEATRES IN PARIS.
Paris, Felruary 29(*. If some old Roman had been thrown into a lethargic state for a few centuries, like the Sleeping Beauty, and by the stroke of some magician's wand suddenly transported to Paris, were he to wake up in one or other of the principal lyrical theatres, his astonishment would not be as great as we might expect; for he would find himself surrounded with all the splendour of the pagan ages. At the The'utre-Lyrique alone, he could one night descend with Orpheus into the dark regions of the lower world, and wander with him in search of his Eurydice; and the next night he could, in the same Theatre-Lyrique, sup, in company with Philemon and Baucis, in their humble cot, with the great chief of the Olympian deities. The libretto of M. Charles Gounod's new opera is written by MM. Jules Barbier and Michel Carre*. It is in three acts. Instead of a grand overture there is a simple introduction, worthier of a classical subject and in accord with the subdued tone of the first act, the more striking and brilliant efforts of the composer coming in the later parts of the opera. This introduction is a pastoral, in F, and on its last notes, the curtain rising, we find ourselves in tho cottage of Phil6mon and Baucis, which, poor as it looks, is rendered a pleasant spot by the happiness of the good old couple. In a duet these happy beings celebrate their love, which has resisted time and poverty and age. While they are softly singing this, sounds of quite a different kind are heard in the distance. The other inhabitants of the village, who have lost all fear of the gods, are giving themselves up to their impious saturnalia. The effect of this ensemble is striking. Soon, however, the rising sounds of a tempest are heard, and while the storm is raging round the little cottage, two strangers knock at the door, asking shelter. Phil6nion, who is for the moment alone, receives them. These two strangers are Jupiter and Vulcain. There is here a very good trio, after which Vulcain Bings a few stanzas with a very characteristic accompaniment, to represent tho strokes of •a hammer on the anvil. The air sung by Jupiter which next follows, "Allons, Vulcain," is also good. Baucis makes her appearance, and, after a long speech, sings in a manner that proves she can sing as well as she talks. But as Vulcain says, "Supper, not singing, is now the object," and to supper they accordingly go, when Jupiter, by changing their humble fare into a more recherche repast, declares himself, and promises to reward Phil6mon and Baucis for their virtue and piety, but, wishing them to avoid seeing the vengeance he intends taking on the impious villagers, he throws them into a deep sleep, and a melange of horns, arpeggios on the harp, and the tremolo of the violins, is a pleasing termination to the first act.
The second represents the people of Sybarites reclining in gala attire, under the portico of the Temple of Cybele. Here the composer strives to assume all the passion and fire such a scene requires. The stanzas sung by Madlle. Sax (a bacchante)," C'est le vin," are not, however, worthy of the rest of the score. In the midst of the dances to which they are giving themselves' up, Vulcain appears, and upbraids them. They wish to drive away this bird of ill-omen, when Jupiter appears, and, in a grand and dramatic finale, destroys this sacreligious people. All this time Phil6mon and Baucis have been sleeping, and, in the third act, the curtain rising to tho refrain of the pastoral in the first act, Baucis is discovered in all the splendour of youth and beauty, and in festive attire. Still in a trance, starting up, she seeks Philemon, to whom his youth and good looks have also been restored. Hardly knowing each other at first, the truth then breaks on them, but for a moment their felicity threatens to be troubled, for Jupiter, like Pygmalion, is very nearly falling in love with his own work. Baucis, however, rather than listen to any other voice than Philemon's, implores her gray hairs and wrinkled features may be restored to-her. Jupiter,thereupon, like a gentlemanly deity, withdraws his Buit, but leaves the happy pair in tho enjoyment of their renewed youth. Battaille performed the part of Jupiter, M. Froment that of Philemon, and Madame Miohm-Carvalho that of Baucis, and M. Balanque Vulcain.
A alight accident occurred on the first night: a bouquet, thrown to Madame Carvalho, fell on the foot-lights and took fire; after a few minutes'suspense, a fireman advanced, and bore the bouquet off to a watery doom.
The concerts are going on still. The one given by Kruger on the 10th of February, in the new salons of Erard, was one of the best. Kruger played the grand sonata (Op. 57) of Beethoven, and the duet in D major of Mendelssohn, with the violoncellist, Eignault. He also gave "La chanson du chasseur," "Guitare et marche nocturne." Kruger had just returned from Stutgardt, were he had gone to be present at a festival given in honour of his father, on the occasion of the latter's completing' the fiftieth year of his membership of the Chapel-Royal. The violinist, M. Servais, has just arrived here (Paris) ; he proposes making some stay here. The third concert of the Soci6t6 des ('oneerts gave the symphony in E flat of F61ieien David, the benediction of the flags from the Siege de Corinthe, and fragments from the ballet of Promettee, the Berceuse de Cherubini, the Symphony in D of Beethoven completed the programme. The Sociitl de Jeuues Artistes, under the direction of M. Pas de Loup, pursues its course with success. At their third concert some fragments, never played before, of Meyerbeer's opera of Struensee were given; the " Revolte des Gardes" and "Le bal et l'arrestation" were the titles of these pieces; the overture was also given, but it is well known here. The rest of the concert was equally well composed. To-morrow a concert that is looked forward to with the greatest interest will be given in the salons of the Louvre, M. and Mad. Sainton (late Miss Dolby) being the great attraction. Mad Pleyel will perform on the 7th. M. Jacques Bauer also gives a concert to-morrow at the Salle Erard. A banquet wag given the other day at the Caf6 VeTour, at which many English and French writers assisted. M. Delaporto presided. He is the clever director of the concerts of the French Orpheonists. The object of the banquet was to publish the project that has been decided on, and which will be accomplished in the month of June. At that period 3,000 French Orpheonists will go to England to, renew at the Crystal Palace the festival held by them in Paris in 1859. Twelve steamers will convey these artists over. Every ono seems to think the company of the Crystal Palace have behaved in the most liberal manner. 200,000 francs is the sum said to have been given to defray the expenses. The Orpheonists stay one week in England, and they will give three concerts. This enterprise has been welcomed in the warmest manner here, and will doubtless prove successful. These aro some of the choruses that will be sung: "Lo Septuor des Huguenots," "Le Cimbres et Teutons," "Le Psaume de Marcello," "Le Veni Creator," " La Retraite, le Depart des Chasseurs," "Le Chant des Montagnards," and "Le Choeur des PrGtres des Mysteres d'Isis." Paris has been making up this last week for the tranquillity of the winter; three masked balls, one at Colonel Fleury's, one at M. Fould's, and one at the Comte Tascher do la Pagerie's, have all been remarkable for their elegance and brilliancy. The Emperor and Empress, of course, were at them, though masked as the others. A great French artist has just died at Genoa—Raffet—as much beloved for his amiable character as admired for his talent; his two most remarkable paintings are, " La Revue passee aux Champs Elys6es," and the "Derniere charge des lanciers rouges a Waterloo." An Indian instrument, called "The Xilo," composed of wood and straw, has been performed on with success by M. Henri Spira. H° played national airs on it, and also the Carnaval de Yenise.
DANCE MUSIC BY FREDERIC PERRY.
Tho St. Andrew's Quadrille, dedicated to
The Wardour Mazurka „
Tho Vancouver Quadrillo ,,
Tho Valentia Polka ,,
The Augusta Mazurka „
The Helena Polkas ,,
The Castollon Polka ,,
The Gotham Polka ,,
The Promenade Polkas M
The Salopian Quadrilles „
Addison, Hollier and Lucas,
T URLINE—WALLACE'S NEW GRAND OPERA
Xj for the Pianoforte, as Solos and Duets, by W. H. Calcott; also Fantasias and Bondos from "Lurline" by Wallace, Favarger, Osborne, and ,other eminent composers. Valaes and Quadrilles from "Lurline.'1
Cramer, Beale, and Co., 201, Kegent-streot.
"T^HOU ART SO NEAR AND YET SO FAR."—
J- Reverie, for the pianoforte, on the above popular Song, by B. Andrews, is published, price 2a., by Duncan Davison and Co., 244, Regent-street.
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HAMILTON'S DICTIONARY OF 3,500 MUSICAL TERMS. Edited by JOHN BISHOP. 60th Edition, carefully revised, Is. "There are many hundreds of words in this Dictionary that I caunot find in others which cost me ten times more money ; and what is more to the purpose, they are words or terras .which aro daily used in the hiirher musical circles.*'—CJulteuhnm Looker-on.
CLARKE'S CATECHISM OF THE RUDIMENTS OF MUSIC, 60th Edition, Is.; Clarkc'B Alphabet of. Music. 6d.; Hamilton's Modern Instructions for tho Pianoforte, enlarged and fingered by Csorny, 249th Edition, 4a.; Hamilton's Modern Instructions for Singing, 15th Edition, 5s.
THE DREAM OF THE WANDERER. By BRINLE7 RICHARDS. Romance for Piano. 2s. 6d. "A very graceful aud striking melody, the work of a true musician."—Preston Guardian.
BRINLEY RICHARDS' "CHIME AGAIN, BEAUTIFUL BELLS." As a piano duet, 3s.; piano solo, 2s. 6d.
RRINLEY RICHARDS' "WARBLINGS AT EVE." Arranged as a duet for two performers, on one pianoforte, by the samo popular composer, 3s.; piano solo, 2». 6d.
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pAUTION TO MUSIC PUBLISHERS.—" Thou art
\J so near, aud yet so far," Song, composed by Alexander Rcichardt.— Notice is hereby given, that the above-named song is copyright of Messrs. Duncan Davison aud Co., and that legal proceedings will bo taken Against all persons infringing the same. The only publishers whose names and addresses nave been printed on the title-page of the said song, by Messrs. Duncan Davison and Co., are Messrs. Boosey and Son, Cramer and Co., and Chappell and Co. London; 244. Regent-street, March 1, 1860.
GOLLMICK-DRIPPING WELL,Morceaux Fantastique for the pianoforte. Third Edition, price 3s. One of the most popular original pieces of the day. Boosey and Sons, Holies-street.
NOTHING LIKE A FRESHENING
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No. 1. (April) CROWN DIAMONDS Auber.
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,, S. (June) ZANETTA Auber.
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„ 0. (September) DER FRK1SCHUTZ Weber.
„ 7. (October) DOMINO NOIR Auber.
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„ 9. (December) DAME BLANCHE Boieldieu.
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„ 11. (February) PART DU DIABLE Auber.
,, 12. (March) GUILLAUME TELL Rossini.
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LTJRLINE.—The following are the favourite pieces in WALLACE'S new and successful Opera, LURLINE;—" Under a spreading coral." "Take this cup of sparkling wine," "Flow on, oh, silver Rhine," "Whvn tho night winds," "Sweet Hpirir, hear my prayer," sung by Miss Pyno; "Gentle troubadour,"sung by Miss Pilling; "Our barque in moonlight beaming," " Sweet form that on my dreamy gasc," The chimes of home," sung by Mr. Harrison; '* A Father's love," "Love, transient passion," sung by Mr. Santley.
Cramer, Beale, and Co., 201, Regent-street.
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«0H! TAKE ME TO THY HEART AGAIN I"
Poetry by Jessica Rankin.
If I indeed must leave thee.
This wayward heart hath spoken;
Oh I take me to thy heart again.
This life would be without thee;
Are closely twined around thoe.
That wounded thee so blindly;
Then take me to thy heart again.
"THE SULIOTE WAR SONG,"
Sung by Mr. Santley.
Qlowathe beacon light I
What though fi>es surround us,
Poetry By Ellis Bell,
There should be no despair for you,
While evening pours its silent dow,
There should be no despair, though tears
May flow down like a river: Are not tho best-beloved of years
Around your heart for ever.
They weep, you weep, it must be so;
Winds sigh, as you are sighing, And winter sheds its grief in snow,
Where autumn's leaves are lying.
Tct, these revive, and from their fate,
Tour fate cannot be parted; Then, journey on, if not elate,
Still, never broken hearted.
"AWAKE LITTLE PILGRIM."
Poetry by the Rev. D. T. K. Druumond.
Awake, little pilgrim, tho day is at hand,
"THE DEW-DROP AND THE ROSE."
Poetry by Isabella Hampton.
A dew-drop reclined on a beautiful rose,
And whispered soft vows of his love.
A sunbeam fell down from above 1
The dew-drop instinctively felt thcro had come
A rival—his loved one to prove,
And whispered soft vows of his love.
Still nearer came that sunbeam gay,
As ho called tho rose his bride,
Then drooped his ht ad and died.
"THE CHRISTMAS ROSE."
Poetry by M. A. Stodart.
Composed by Lovell Phillips. Prico 2s. Cd.
"Tho Christmas Roso! The Christmas Roso 1
This flower is like tho joys that shine,
In Soitow's hour and life's decline.
When youth hath passed and pleasure flown,
And sad the spirit sighs alone;
Then marvel not that thus I twine
My thoughts around this gift of thlno,
And muso on hopes and joys that last,
Aud bloom through life's most piercing blast."
"I'M NOT IN LOVE, REMEMBER."
Poetry by Jessica Rankin.
Composed by M. W. Batjte. Price 2s.
Prithee tell mc, gentle air.
Aud why no pleasures charm me?
His arrows cannot harm mo 1
I try to sing—my voice is sad!
Such gloomy things 1 dream on 1
To charm nway the demon.
I sometimes think, if " J know who"
To bid the demon slumber!
111'm not in lovo, reinembor I"
I'm not iu lovo, remember.
"ARE THEY MEANT BUT TO DECEIVE ME."
Poetry from the Polish.
Are thev meant but to deceive me.
Those fond words that tell of lovo
If their falsehood I should prove.
Though belief, atone, is bliss.
Ah! what bitter pain is this.
All my inmost soul concealing,
Shall my words unfettered flow.
Hero my thoughts shall I express
LONDON: DUNCAN DAVISON & CO.,
(DEPOT GENERAL DE LA MAISON BBANDUS DE PARIS),
2U, REGENT STREET, CORNER OF LITTLE ARGYLL STREET.