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LETTERS TO THE EDITOR.

THE "APOLLO AND MARSYAS.” SIR,-I enclose for publication a translation of a document which has been forwarded to me by order of His Excellency the Governor of Venice, and signed by him. So high a tribute to genius cannot but prove of great interest to every man of refinement. I am, Sir, yours obediently, MORRIS MOORE.

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"We have the pleasure to communicate to you that in consequence of your having with immense success publicly exhibited in Paris, Munich, Dresden, and Vienna, in furtherance of pious and philanthropic objects, the picture of Apollo and Marsyas' in your possession, and of this picture having been every where acknowledged to be not only an undoubted original by Raphael, but one of singular interest; and in consequence, moreover, of your having desired to exhibit the said picture in this Accademia di Belle Arti, side by side with the corresponding original drawing by Raphael, the Supreme Ministry of Worship and Public Instruction, in reply to the petition which you had addressed to it, and in consideration that the exhibition of your famous picture side by side with the original drawing belonging to this Academy would be of the deepest interest to all artists and lovers of art, forwarded orders to the government of this Luogotenenza, not only to grant you the public exhibition of your picture of Apollo and Marsyas' side by side with the corresponding drawing belonging to this Academy, in a suitable place in the same, but in every possible way zealously to assist you towards this object.

"At the same time, the Supreme Ministry of Worship and Public Instruction, in order to protect so great a treasure as an original picture by Raphael from every possible risk through inadvertent handling, enjoined the Government of this Luogotenenza to make arrangements that the usual Custom House operations be waived respecting the case containing it, especially on your quitting Venice, and that, above all, be omitted the opening of it or the placing of any

seal upon it, lest its contents be endangered.

"In the orders given on this head to the Presidency of the Accademia di Belle Arti, and in the understanding entered into with the I. R. Prefecture of Finance, you will have recognized the ready zeal with which the Government of this Luogotenenza has fulfilled the high behests of the Supreme Ministry.

"In the mean time, steps will at once be taken that the name of Montagna be removed from Raphael's original drawing of Apollo and Marsyas' belonging to the Accademia di Belle Arti of Venice, and that its authenticity be established in a way to cause all doubt to cease. Accept the assurance of my highest consideration,

"Vienna, March 1st, 1860."

LEEDS TOWN-HALL ORGAN.

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TOGGENBURG.

SIR,-I regret to see, by a report copied in the pages of the Musical World from the Express, that a feeling of doubt and dissatisfaction exists in Leeds regarding the new organ in your Town Hall. I had an opportunity of hearing and playing on it some weeks since, and, as an impartial observer, interested in the welfare of the art of organbuilding, I beg you will allow me to express my opinion concerning this magnificent instrument.

I am acquainted with the finest organs in this country, as well as those in Paris and Germany, including those at Frankfort, Ulm, Weingarten, Haarlem, &c., and still have no hesitation in saying that yours is a master-piece of art and science combined.

The design alone displays consummate knowledge of organ-building; whilst the more artistic portions, such as the choice of registers, voicing, &c., reflect equal credit on the artists who planned the instrument, and the artificer who executed his share of the work.

It is essentially a concert-organ, adapted to the requirements of festivals, solo performances, &c.; and the general quality of tone, I consider excellent. The ensemble is superb. The groundwork, viz., the diapasons, are distinguished for breath and grandeur; and the voicing of the delicate wood flue-work, the free reeds, tuba and solo stops generally, I think very successful; whilst the Voix Humain cer. tainly rivals that at Freybourg, or rather the more celebrated one at

The "Apollo and Marsyas" was not so exhibited at Paris. At Munich and at Vienna it was exhibited in aid of the Artists' Benevolent Fund; at Dresden and Vienna in aid of the Schiller Foundation Fund.

the Madeleine. Nor should I omit to specify the Mixtures (that glorious and exclusive monopoly of the organ) which are each definite in character, and designed on a new and excellent principle. The amazing amount of combination movements affords greater variety of effect than has hitherto been introduced, I believe, in any other organ. Respecting the working condition of such elaborate mechanism, my visit was too brief to form a decided opinion on it, and I never tamper with any instrument. No one can reasonably object to the weight of a touch which offers a resistance of only half-a pound on each key; and if the delightful elasticity of the old action (well made) is wanting, when the pneumatic movement is applied, this addition was indispensable to counteract the high pressure of the wind.

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The absence of a 32-feet wood open in the pedal organ is to be regretted, although the Bourdon is very good of its kind. displayed in the design and execution of the Leeds organ, and with due There can be no doubt that a most conscientious feeling has been allowance for slight and temporary imperfections, the skill of the to disappear. The external appearance is splendid, and in perfect builder, and a just regard for his own credit, will cause these drawbacks keeping with your noble hall; and, with Mr. Best, I take the liberty of recommending some caution in placing the organ under the hands of every new comer.

builder, of whatever nation; as although my experience has inclined I write only with the motive of upholding excellence in any organme to a preference for the great German school of organ-building (to acknowledgment of merit in our own countrymen, when deserved. which we owe so much), I yet feel that candour and justice impel an I am, &c.,

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LOVE SICK SOL OURED BY A CLOUD.

On a violet bank lay sleeping

Sweet Julia, bright and fair;
Sol, blushing, down was peeping,
And kissed her shining hair;
Then swiftly hid behind a cloud,
Ashamed for what he'd done,
And trembling sat as bashful-browed
As any mortal one!
The Cloud, lamenting thus to see
Poor Sol so heavy-hearted,
Determined to arouse his glee-

Sought her for whom he smarted.
He on the bank fair Julia spies,

At once unto her steers,
And drops from out his ogling eyes
Some crocodile-like tears.

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DOVER-(From a Correspondent).-The seventy-fifth season of the Catch Club being announced to close on Tuesday evening, March 8th, the Apollonian Hall was crowded, notwithstanding the inclemency of the weather. The vocalists were Miss Louisa Jarrett, Miss Harcourt, and Mr. D. Lambert; and the programme excellent of its kind. Miss Jarrett's singing gained great applause, and in "I'll follow thee," she was encored; as also in the duets with Mr. Lambert, who justly received his share of approbation. Mr. Lambert sang "The Suliote War Song," and Bishop's, "Oh! firm as oak, and free from care," and in both was encored. Miss Harcourt, in her songs, afforded great satisfaction, and was also more than once encored. The instrumental part of the programme, consisting of overtures, galops, and valses, was well executed, and the entertainment concluded with "God save the Queen."

MONDAY POPULAR CONCERTS.

LET not the Germans henceforth imagine that they are the only people who can compose chamber-music. The concerts of February 27th, and March 12th, are a convincing proof that some Italians, at least, have invented combinations of harmony no less attractive than the melody which is characteristic of the "Sunny South." A programme, rich in gems, drew together on Monday last an audience which, braving the inclemency of a miserably wet night, crowded every part of St. James's Hall, and remained, with few exceptions, to the end of one of the most delightful entertainments ever provided.

The instrumental selection comprised Boccherini's quintet in A major (Op. 20), Cherubini's grand quartet in E flat (second time), and Donizetti's quartet in D major. In the hands of Herren Becker and Ries, Mr. Doyle and Signor Piatti, with the able co-operation of M. Paque in the first piece, each of these compositions received more than justice, being indeed played to perfection. Especially noticeable was again the quartet of Cherubini, displaying a freshness, and geniality, and science alike admirable, at times reminding us of the vigorous energy of Beethoven, at others of the delicate fancy of Mendelssohn, and yet without a trace of plagiarism, the whole being thoroughly original.

He, however, whom Hood, himself somewhat of a punster, called "punning Peake," always fortified his farces with a certain number of solid verbal jokes, and the great point in the OmniIrishman should pronounce" cure a sow," and thereupon inquires bus is the double meaning given to the word curaçoa, which the relished in its time that it not only made the success of the farce, whether it will also " cure a mare." The joke was so much but attracted amateurs of jeux de mots from all parts of England, and we are assured that hundreds of families visited the metropolis solely in order to hear Mr. Peake's pun. On Tuesday night it was by some error omitted, and we expected that cries for "the pun! the pun!" would have been raised from all parts of We must add, in all seriousness, that the acting throughout the the house, but the audience bore their loss very composedly. evening was most creditable to the amateurs, who, we believe, had never until this occasion played together.

Before the comedietta, a capital prologue, written by S. H. G. Wright, the physician to the institution, in aid of which the entertainments were given, was delivered by the author. It and in reference to the charitable object of the performance of contains some excellent lines on the subject of amateur acting, Tuesday evening, and it was much applauded.

The same amateurs re-appeared at Campden House on Thursday evening, the proceeds of the sale of tickets being again devoted to the "Royal Benevolent Society."

Mr. Charles Hallé contributed two solos Clementi's sonata in A major (Op. 25), and three of Scarlatti's harpsichord lessons (including the fugue in D minor). Both authors were given irreproachably, in a style uniting all requisite light and shade with the most perfect mechanism, and both pleased instant, was principally devoted to a selection from Mendels

unanimously.

CONCERTS.

CRYSTAL PALACE.-The concert given on Saturday, the 3rd

Herr Becker once more distinguished himself as a soloist, and in Tartini's Trillo del Diavolo more than confirmed the opinion expressed of his powers recently. He has fairly taken his place in the front ranks of "virtuosi" no less than quartet players. A hearty recall followed his really wonderful performance. Mdlle. Parepa and Mr. Sime Roovos again shared the vocal music, the lady repeating Sarti's "Ah non sai qual pena," and the grand aria from Piccini's Didone Abbandonata, in both of which she was much applauded. The two airs allotted to Mr. Sims Reeves offered a great contrast, the first being "Pieta Signore," from an oratorio of Stradella's; the second, "Pria che spunti," from Cimarosa's Matrimonio Segreto. More exquisite singing never was heard, and in the last-named piece the voice and taste of our great tenor were displayed to such perfection that an encore was inevitable, and he repeated the air to the de-its beauties were lost, as the music is eminently dramatic and light of every one in the hall.

On Monday next the instrumental portion will be from the works of Beethoven; the grand Septet and the Kreutzer Sonata, by Miss Arabella Goddard and Herr Becker, being included in the programme, to say nothing of one of the latest sonatas (Op. 109) for the first time at the Monday Popular Concerts.

THEATRICALS AT CAMPDEN HOUSE. (From our Kensington Correspondent, by Omnibus Express.) AN interesting performance took place on Tuesday last, at Mr. Wolley's miniature theatre, in aid of the funds of that excellent institution the Royal Benevolent Society. The enter tainment commenced with, Our Wife, or the Rose of Amiens, an adaptation from the French, by Mr. Palgrave Simpson; followed by Peake's farce of the Omnibus, and concluding with Betsey Baker, the work of Mr. J. M. Morton, and some French person or persons unknown. In the comedietta, the Viscount Raynham, the Captain Mackinnon, the Sieur Wolley, the Lord Wallscourt, and the Ladies Colthurst and Anne Sherson appeared: the Viscount Raynham and the Lady Colthurst particularly distinguishing themselves. In the Omnibus, the Honourable Evelyn Ashley, the Major Mackinnon, the Sieur Maitland, the Honourable Reginald O'Grady, the Lord Wallscourt, and the demoiselles Newton and Barker performed. The Sieur Maitland is an excellent representative of the comic Irishman, and was seen to much advantage in the part of Pat Rooney. The fun of Peake's ancient farce turns upon the inconveniences likely to result to suburban residents from the invention of omnibuses.

sohn's operetta Son and Stranger, including the overture and the most important pieces in the work. The singers were, Mad. Weiss, Miss Fanny Huddart, Mr. Wilbye Cooper, Mr. Smythson and Mr. Weiss. Mr. Manns had evidently taken pains, and the result was an excellent performance, thoroughly enjoyed by all present The Son and Stranger was brought out in England in 1851 (the first time in public, although written in 1829), at the Haymarket Theatre, with Miss Louisa Pyne, Mr. Donald King, and Mr. Weiss. It obtained a great success, although by no means satisfactorily executed, the band and chorus being indifferent, and was pronounced by universal assent a masterpiece of comic music. It seems strange indeed, that after such a success none of our lyric theatres, Italian or native, should have contemplated its production. At the Crystal Palace more than half the libretto spirited and amusing. The pieces which pleased most were the delicious romance of Herrmann, "When the evening bells are chiming," capitally sung by Mr. Wilbye Cooper; Ursula's song at the spinning-wheel; Lisbeth's air, "How oft the young have wandered;" and, of course, the famous buffo song, "I'm a roamer," splendidly given by Mr. Weiss. The concerted music might in some instances have gone better. The artists seemed as though they were unwilling to ruffle their drawing-room placidities by any dramatic perturbations-all except Mr. Weiss, who proved himself, even remote from the stage, every inch a pedlar. The remaining pieces in the programme were Beethoven's overture to Prometheus; the splendid "War March" from Mr. Horseley's Gideon; the "Rataplan" duet from the Figlia, by Mr. and Mrs. Weiss; the ballad, "Three fishers went sailing," sung by Miss Fanny Huddart and a new song composed by Mr. Hullah, "The doubting heart," given by Mr. Wilbye Cooper. The concert-room was tolerably full-not crowded.

On Saturday last the programme comprised, for the band, Schumann's symphony in E flat, Mendelssohn's overture to Ruy Blas, and Weber's "Invitation à la Valse," arranged for orchestra by M. Hector Berlioz-an especial favourite with Mr. Manns, and deservedly so, the beauty of the composition and the extreme brilliancy of the instrumentation considered. The symphony of Schumann in B flat was performed for the first time at the Crystal Palace-though not for the first time in this country, as the annals of the Old Philharmonic can tell. It is an eminently characteristic work-that is, characteristic of its lamented author. The second movement, which is melodious and somewhat devotional in tone, could not fail to please. Mr. Manns,

however, will no doubt afford a second opportunity of judging the symphony. Miss Arabella Goddard played Hummel's rondo in A major, and Thalberg's Mosè in Egitto. The latter was loudly encored, but Miss Goddard only returned to the platform and bowed. We need hardly say with what incomparable brilliancy and grace both pieces were played. Miss Parepa, the favourite of the hour, sang Mr. Wallace's new song "Hope in sorrow," the cavatina, "Oh, bright were my visions," from Victorine, and the aria, "Gia dalla mente involasi," from Signor Alary's Tre Nozze. The florid cavatina from Mr. Alfred Mellon's opera was most favourably received, and Miss Parepa, we think, shines more in expression than in bravura singing. She gave Mr. Wallace's ballad admirably, but was not so much applauded as in the cavatina and the valse.

To-day M. Sainton and Madame Sainton-Dolby will appear. An engagement has been concluded with Mdile. Piccolomini for a series of twelve concerts, commencing on Monday the 2nd and terminating on Saturday the 14th of April-the usual one shilling admission to the Palace to be retained.

LONDON QUINTET UNION. The second concert came off on Wednesday evening, at St. Martin's Hall. Again the music of Onslow predominated; not, however, exactly to the same extent as before, only one quintet, and a part of another, being given. Mr. Willy's admiration for Onslow must indeed be great, since he has introduced in two concerts three entire quintets, and one movement from another, of that composer. The entire quintet performed at the last concert was that in B flat, Op. 33, and the one which finished the single movement was the D minor, No. 3, Op. 1. The quintet in B flat was finely executed by Messrs. Willy, Westlake, Webb, Pettit, and Reynolds, and listened to with attention. The last movement of the quintet in D minor, Presto Finale, was heard by few, and therefore played to disadvantage. The remaining part of the selection was unexceptionably good. The other instrumental pieces were Mozart's quintet in A major, Op. 108, for clarinet, two viclins, viola, and violoncello, and Professur Bennett's chamber trio in A., Op. 26, for pianoforte, violin, and violoncello. These two masterpieces would have made amends for any amount of dryness, and their introduction must exonerate Mr. Willy from any design of rendering his concerts heavy. Mozart's quintet was the instrumental feature of the evening, Every movement awakened a new delight, and it was difficult to say which created the greatest sensation, the exquisitely beautiful and plaintive andante, or the deliciously quaint air and brilliant variations of the finale. The performance was first-rate, Mr. Maycock especially distinguishing himself on the clarinet. The pianotorte trio was hardly less admired, the slow movement, in which the pizzicato for the stringed instruments is employed with so much effect, eliciting, perhaps, the greatest admiration. The vocal music was assigned to Miss Banks and Madame Sainton-Dolby. The last-named lady, who has lately been winning laurels in Paris, made her first appearance since her marriage, and was received with warm and genuine tokens of admiration. She sang two of her most popular songs"Cangio d' Aspetto," from Handel's opera of Admetus, and Mr. Balfe's "The green trees whispered low." Both were given to perfection, and the latter unanimously encored, Miss Banks gave Mozart's "Parto," from the Clemenza di Tito, and Mr. Henry Smart's song-a very charming one, by the way"Love me, or love me not," and won the suffrages of the whole room, singing sweetly, expressively, and without ostentation. Mr. Lindsay Sloper accompanied the vocal music, and played the pianoforte part in Professor Beunett's trio, which we should already have signalised as a very fine performance on the part of the accomplished pianist and his coadjutors, Messrs. Willy and Pettit. The attendance was but indifferent, the body of the hall being no more than half, and the galleries about twothirds full.

HERR WILHELM GANZ'S SOIREE.-In our notice of this young artist's Soirée Musicale, we should have stated that it took place at his residence, 15, Queen Anne-street, Cavendish-square, and not Queen-street.

THEATRE-ITALIEN, PARIS.-Mad. Borghi-Mamo has created a great sensation in the character of Desdemona, in Rossini's Otello.

MR. AGUILAR'S FIRST PERFORMANCE OF CLASSICAL PIANOFORTE MUSIC took place on Saturday evening, the 10th instant, at his residence, Westbourne-square. The following excellent programme was given :

Sonata, in C, for pianoforte (Op. 2, No. 3), Beethoven.-Recitative and Aria, "Lascia ch' io pianga (Rinaldo), Handel.--Prelude and Fugue, & minor, ditto in G major, J. S. Bach.-Caprice in B flat minor, for pianoforte (Op. 33, No. 3), Mendelssohn.-Recitative and Aria, "Deh vieni non tardar" (Le Nozze di Figaro), Mozart.-Sonata Quasi Fantasia, in E flat, for pianoforte (Op. 27, No. 1), Beethoven.— "Invitation a la Valse," for pianoforte, Weber.

The task Mr. Aguilar set himself was an arduous one for a single evening's performance; but his powers showed no abatement at the last, and Weber's sparkling "Invitation to the Waltz," the last piece in the programme, was played with as much facility and vigour as anything which preceded it. The performance, however, which appeared to afford most unqualified satisfaction was the sonata in E flat of Beethoven, in which Mr. Aguilar displayed his thorough feeling for classic music no less than his mechanical dexterity. Mendelssohn's caprice, too, was a capital performance and pleased unanimously. The two vocal pieces were assigned to Miss Lindo, who exhibited considerable talent in both, and evidenced genuine taste and feeling in the air from Figaro, " Dove sono," one of the very loveliest Mozart ever wrote. There was a full attendance, and the concert was of that reasonable length that, combined with its sterling character, must have satisfied everybody.

SOCIETY FOR THE ENCOURAGEMENT OF THE FINE ARTS.-On Thursday evening last, the second trial of musical compositions in connection with this society took place, at the Architectural Gallery, Conduit-street. The members of the "Arion," under the direction of Mr. Alfred Gilbert, gave the following programme :-Pater Noster, Meyerbeer; Contralto Hymn, Mendelssohn; "The Dream," Costa; Misericordias (double choir) Reichardt; "To love I wake" (double choir), Webbe; New PartBungs (second time), Mendelssohn.

OXFORD (From a Correspondent).-The current series of Lectures and Concerts was brought to a termination on Tuesday evening with a miscellaneous entertainment of vocal music, in which Miss Emily Gresham, Mrs. R. Paget, Mr. George Tedder, and Mr. Horsley assisted, and Mr. W. Ringrode acted as accompanyist. It was but a dull affair to the real lovers of music, there being no instrumental performances. Not so, however, thought the good people of Oxford, who were enchanted beyond measure with everything, and would fain have every piece over again. The singers were not of the same mind, except Mr. Horsley, who being a townsman and volunteer to boot, could not resist the onslaught made on him when he gave that warexciting song, "Riflemen, form," but returned incontinently, and repeated it hilariously. There were fierce acclamations, too, when Miss Emily Gresham and Mr. George Tedder joined in the duet, "The Duke of Athol's Courtship," which the audience would fain have over again. This constrained the tenor to come forward and apologise for non-compliance on the score of indisposition, which speech was hailed with even more plaudits than the duet. Miss Emily Gresham pleased immensely in her solos, more particularly in Flotow's "Ave Maria," and Bishop's 'Bid me discourse;" and Mrs. Paget was very effective in Mr. Hullah's song of "The Three Fishers," and "Kathleen Mavourneen." Although the concert seemed to please everybody, I should strongly advise the manager of the City Public Lectures and Concerts to think a little more of art next year and less of pleasing the mob.

66

EDINBURGH (From a Correspondent).-The fifteenth of Howard's Saturday Evening Concerts took place in the Music Hall on Saturday evening last. In addition to his usual staff, Mr. Howard was assisted by the bands of the 13th Light Dragoons and West York Rifles, by the Edinburgh Orchestra, and Mrs. Howard, Messrs. Kennedy, Bishop, and D. Lambert (the last of whom made his début before an Edinburgh audience as vocalist). The first part of the concert consisted of the overture to Weber's Oberon, and Handel's serenata, Acis and Galatea, in which Mrs. Howard and Messrs. Bishop and Kennedy sustained their reputation. Mr. Lambert made a very favourable impression, and narrowly escaped an encore in "O ruddier than the cherry." Mr.

Howard judiciously introduced between the first and second parts of the programme, "The Garb of Old Gaul," composed by the late General Reid, in honour of whose memory this concert was announced to take place. In the second part Mr. Lambert sang, "Oh! firm as oak, and free from care; and on being encored, gave the audience another specimen of his abilities. The crowded state of the hall attested the popular appreciation of Mr. Howard's services; as well as the fervid reception of his own Flora, &c., the Rifle Band's selection from Scotch airs. A more strict adherence in the programme to the national music of Scotland would perhaps tend materially to the gratification of the class-and a large one it is-for whom these concerts were designed, and by whom they are supported.

NORFOLK AND NORWICH MUSICAL FESTIVAL. (Communicated.)

PREPARATIONS and engagements for the Festival, which will commence on Monday, the 17th September, under the conduct of Mr. Benedict, are already going on with activity. We understand that the services of Madame Clara Novello, Madame Weiss, Mr. Sims Reeves, Mr. Wilbye Cooper, Mr. Charles Santley, and Mr. Weiss, have been secured, and that other important engagements are pending. Upon this occasion, a lively and peculiar interest attaches itself to the name of Clara Novello, because it will probably be the last time that the public will have an opportunity of hearing that accomplished artist prior to her final retirement from the profession. Standing upon the pinnacle of fame, as an English vocalist, this gifted lady has determined to descend from it whilst she can do so with dignity and grace. She is not one of those who would ever degrade her art, or suffer herself to be degraded by it, through a painful exhibition of incompetent efforts. Of Clara Novello it will never be said, Superfluous lags the veteran on the stage." Amongst the propositions about to be submitted by the subcommittee to the general committee, if not already accepted by the latter (a point on which we are not quite sure), is a performance of Haydn's oratorio of The Creation, on the Monday evening, at a greatly reduced price, instead of having cheap preliminary concerts. This will enable many lovers of music belonging to a class whose avocations will not allow them to attend morning performances, to enjoy a great work interpreted by first-rate voices and instruments. On the Tuesday evening it has been proposed to do Gluck's Armida, in either the first or second part of the concert. The success of Gluck's Iphigenia in Tauris, produced under the auspices of Mr. Charles Halle, at Manchester; was complete.

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On the Wednesday morning it is proposed to do The Last Judgment of Spohr, in honour of that illustrious composer's memory; this will be preceded, or followed, by Handel's famous "Dettingen Te Deum." On Wednesday evening, a leading feature will be Professor Bennett's May Queen; and on Thursday evening, Mr. Benedict's Undine, composed expressly for this Festival; on Thursday morning, a selection, and Herr Molique's new oratorio of Abraham; and on Friday, The Messiah. Two symphonies have been proposed, namely, Haydn's Military Sinfonia, No. 12, and Beethoven's in C minor. It will be seen that the novelty of the Festival will be Molique's Abraham. Of this work we can say nothing of our own knowledge, but we have heard it highly praised by musical

authorities.

MADAME DOLBY-SAINTON AND M. SAINTON IN PARIS.

(Abridged from La France Musicale.) WE were not wrong in predicting that the names of Madame Sainton-Dolby and M. Sainton would excite the curiosity not only of all the English of distinction who reside in Paris, but also of those Parisians who love serious and high art. The great room of the Hôtel du Louvre was scarcely large enough to contain the numerous audience attracted by these two names justly popular in England, and which are beginning to be so among ourselves. Last year, M. Sainton proved himself, at a concert given by Herz, one of the most correct and brilliant

violinists of the day, Such, too, he proved himself at the concert which he gave on Thursday last, with his wife, Mad. SaintonDolby. He played with incomparable maestria the violin part in Mendelssohn's famous trio in C minor,* and in Beethoven's sonata in A minor.t We wish all the violinists in Paris had been there to hear him. They would, like ourselves, have been charmed by his neat and modest execution-as it ought to be in pieces where the violin is not alone-expressive without exaggeration, and, in a word, perfect. It was the first time Mendelssohn's trio had been played in Paris as it should be played. Sainton played it twice as quickly as it is always played here, and the work gained considerably in consequence. M. Sainton played, also, two delicious pieces of his own composition, which were warmly applauded-a "solo de concert," and a "valse brillante." Perfect correctness, sentiment, brio, nobleness, marvellous bowing, and, in a word, all the various qualities which constitute a concert virtuoso hors ligne, are possessed by M. Sainton in the highest degree. We can assure our readers that the success he achieved will be long and universally remembered.

We have reserved Mad. Sainton-Dolby as the "bouquet," not from mere gallantry, we beg our readers to believe, but because we thought so great a name and such marvellous talent ought to have a place by themselves in our appreciation, as they do in the hierarchy of fair concert-singers. As the interpretress of Handel, Haydn, and Mozart-of the sacred and profane music of those admired and venerated masters-Miss Dolby, now Mad. Sainton, has no rival in England. Her name is popular in all parts of the United Kingdom, and the fact of its appearing in the programme of a concert is sufficient to fill, as though by enchantment, the largest rooms, and Heaven knows there are plenty of them. We have heard her at Manchester, at the from fifteen to twenty thousand persons, and never did they Sydenham Palace, and at Exeter Hall, sing before assemblies of fail to salute her, on her appearance, with the most enthusiastic cheers. The English adore Miss Dolby; she is their favourite singer, and as, in her case, the woman is, at least, as distinguée as the artist, there is no mark of affection which this people, so jealous of its national glories, does not shower down upon her. We cannot describe with what joy she was welcomed, the English, who constituted a good half, at the least, of the disother evening, in the rooms of the Hôtel du Louvre, by the tinguished persons who had flocked to hear her. When she charming smile and gentle look which fascinates and attracts appeared, beaming with grace and beauty, and with that one, the applause burst forth from all parts of the room, and

lasted several minutes.

We will not mention all the pieces sung by this great artist. We must content ourselves with stating that her style of interpreting the thoughts of such masters as Haydn and Handel is quite new for us; that it is the true, the good style, and the only one which should be allowed. It is impossible to possess, at the same time, more grace, more grandeur, and more sensibility; it is impossible to identify one's self more intelligently and more truly with the musical idea, no matter how grandiose ness of her prodigious talent, is that it adapts itself, without and profound it may be. A fact, too, which proves the supplemusic, without ever sacrificing aught to the exigencies of a difficulty and with exquisite grace, to the forms of modern public spoilt by bad example. Madame Sainton sang in English an admirable melody of Haydn's; "L'Ame errante," a sublime air, from Handel's oratorio of Samson; a scena admirable for its simplicity, "The Irish Emigrant," by Luders; an English serenade, and a Scotch ballad. In all these pieces, varying in character and style, she displayed the admirable and extraordinary compass of her voice, a mezzo-soprano, peculiar in quality, which goes direct to the heart, besides exhibiting her rhythmical accentuation, her magistral phrasing, and, above all, her deep musical feeling. She was recalled, we cannot say how many times, and applauded with sincere enthusiasm. Among the entire audience there was not a single voice which did not say to her mentally: "Au revoir!"

* With M. Ritter (piano), and M. Rignault (violoncello),
†The "Kreutzer"-piano, M. Ritter,

MUSIC AND THEATRES IN PARIS.

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(From Our Own Correspondent.)
Howe Atiw bouidatos--doldw 7961 PARIS, March 13th.
Ar last the long-expected opera of Prince Joseph Poniatowski
has been brought out at the Grand-Opéra, and for some days
the opinions " for and against" it will form one of the principal
topics of conversation. The first representation was given on
Friday last, the Emperor and Empress, and all the beau monde
of Paris, being present. Pierre de Medicis is an opera in four
acts; the libretto is written by MM. de St.-Georges and Vanin.
something of this work, one would be led to think that it
had something to do with the history of Tuscany. But it is not
so, and the authors have chosen the heroes of their drama in
the noble and powerful family of the Medicis, to give room for
the gorgeous scenery and decorations with which this opera has
been mounted! Surly bag to by af en QIL
Pierre and Jullien de Medicis are sons of Laurent de Medicis,
called the Magnificent. Pierre de Medicis, tired of the discon
tent of the Florentines, comes to establish his court at Pisa.and the duet between opera are the t

His brother, Julien, who is the governor of the town, gives up
willingly the command, and wishes for nothing better than to
retire from the cares of state, and to marry the beautiful Laura
Salviati, the piece of the
Medicis is also in love Grand Inquisitor. But Pierre de
Grand Inquisitor, tells him of his passion for his niece, and, of
course, ambition easily leads the uncle

her, and, when

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ments is brought in; the Grand Inquisitor once more offers her
freedom, on condition of her marrying the Grand Duke; she
refuses, and after vainly imploring mercy of her uncle, her wedding ¶
wreath is taken off, the black veil is thrown over her, when s
suddenly the doors burst open, the De Medicis and their soldiers)
enter, but it is too late. When Julien asks the Inquisitor, "What of
have you done with her?" he touches the veiled figure: "Sheaf
belongs now," he says, "to Heaven," and while Laura is dragged o
towards the steps of the cloisters, and Julien bends, over-
this opera, though it can never bear comparison with the more
whelmed with sorrow, Pierre de Medicis expires. As music,
inspired works of the great masters, is a work Prince Ponia-
towski will add greatly to his laurels by. Mdlle. Gueymard
was admirable in the part of Laura Salviati: dramatic and
touching as her acting ever is, she surpassed herself. Obin, in
the part of the Grand Inquisitor, shared the honours of the
evening with her. M. Gueymard, as Pierre de Medicis, and
Bonnehée, as Julien, did their best. The two most striking
morceauc in the whole
he trip in the fisherman's hut,
Obin and Laura, when
the veil.
the Italiens, Tamberlik has been singing in Otello.
At the Opéra-Comique, Galathée is still being played. At
Théâtre-Lyrique, has suspended for a short time Philemon et
Baucis, as Madame Miolan-Carvalho has sustained a sad loss
her mother having just died. Very little is going on in the way
of novelty at the theatres: at the Vaudevilles old pieces are
is to bear the title, I believe, La Tentation, will be given at the
and nine tableaux, has just been brought out. It were impossibleft t
Théâtre de l'Ambigu. The Compère Guillery drama, in five acts
wade through, the tissue of nonsense and improbabilities
contained in a melodrama of this class. It turns on the wonder
last reclaimed by the affection of some young lady de grande
ful adventures of a wonderful gentleman brigaud, who is atilsv
certs going on, Last. Wednesday Madame Pleyel gave a concert 13.
famille. Mélinque of course plays well. Various are the con-
at which she played the first concerto of Mendelssohn, and a
concert piece by Littolf, in her most charming manner. Many
and projects about some of the theatres are going on. I hear
are the improvements projected here in the architectural line, ada?
that the Maritana of Wallace is to be performed at the Théâtre d
Lyrique next season. The accounts of the termination of the od
season (the theatrical one) at Naples is deplorable. The manage-
ment is even worse than under the Duke de Salarino. od nad:
Jadi bevlo:

Julien, however, who hears of this, goes to Lond his suit. being performed, but soon M. Octave Feuillet's new work, which o

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palace, and begs her to fly this she refuses to do, and in a very expres In second, Medicis, with his court, are witnessing the end Pierre de honour of Laura. The gorgeousness of this scene, in point of decoration, has rarely been rivalled. The scene represents gardens, with every floral treasure; a fountain, from which veritable aqua pura flows over marble statues; and beyond, the gardens, gradually ascending. The scene begins with day light; and numerous Florentine peasants, in their picturesque costumes, are grouped about. Then, after the court has arrived, the ballet begins. It has for subject the loves of Diana and Endymion, and gives ample scope to Madame Ferrariss to display her wonderful talents in choreographic art. Meanwhile the Inquisitor has told Pierre de Medicis of the affection of his brother for Laura, and to get rid of his rival, Pierre creates him admiral, and orders him to leave with the fleet that is to set sail the next day. Julien contrives to speak to Laura, and they agree to meet in a fisherman's hut, and to fly together. Night has now come on, and suddenly the CHERUBINI. Those artistes and amateurs who have a passion gardens are most brilliantly lighted up, and each of the peasants for works not printed or published of a great master, will learn bearing in their hand an illuminated tulip, while they dance with pleasure that the compositions of the renowned composer, about, the effect is very novel this ends the second act. In the Cherubini, the greatest contrapuntal writer that ever existed, third we find Laura waiting in the fisherman's hut for the are now for sale at Paris by his widow, in manuscript, consistsignal that a devoted friend of Julien's is to give her that all is ing, in his own handwriting, of overtures in score, masses, ready, when the door bursts open, and the Inquisitor and Pierre operas, sacred pieces, cantatas, orchestral pieces, quartets, de Medicis enter. The latter offers Laura his hand and crown, quintets, solfeggi, &c., &c., consisting of nearly 300 works, com which Laura refuses; and when told she will be shut up in a posed between the years 1773 and 1841. Here is a field for cloister if she persists in this refusal, chooses the latter musical societies, students, and directors of music to produce alternative, and is half dragged away just as the barcarole novelties, and study one whose works, hitherto known and unk is being sung under her window that was to serve as printed, are patterns of excellence in every point of view, and signal for her departure. We have next a very lovely held up as models of perfection to the student. The directors moonlight view of the Campo Santo, with a view of of the Philharmonic Societies, Musical Unions and Sacredite Pisa and the Leaning Tower in the distance. Julien de Harmonics, &c., should look after the works. They Medicis is praying at the tomb of his mother, when several will find overtures, chamber-music, oratorios, and choral conspirators enter, tell him of Laura's detention in a cloister, pieces never produced before the public, and what better namer and of the revolution that is going on in the town. Julien de- could they have than the renowned one of Cherubini to termines to head it, and with a grand finale this act ends. The grace their programme. There are also the Psalms of fourth opens near the ramparts of the town; the people are Marcello, in four volumes, 1,540 pages; some of the works of ar dancing and singing, while further on fighting is going on. Pergolèse, Iomelli, Clari, Durante, Sarti; the canons of Padre Suddenly Pierre de Medicis enters, mortally wounded, and re- Martinè, with various other of the old Italian great masters, all penting of his cruelty to Laura, wishes to save her from taking arranged, and in the writing of M. Cherubini. So varied and w the veil. Julien enters, and, supporting his brother, they both prolific a collection by one author has seldom or ever been offered go off together. The scene then changes to the most striking for sale before. Madame Cherubini is now in her eighty-seventh part of the opera-the interior of the convent, filled with nuns, year. The collection ought to be secured for some institution-y monks, and the frères de la miséricorde monks covered in black the British Museum or Royal Academy of Music-as standard and only their eyes showing. Laura in splendid wedding gar-works of art in every branch of music.

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