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SADLER'S WELLS THEATRE.
PABT I. ...
Duet, "Tell me. Gentle Stranger" Parry.
Mr. and Miss Ransford.
Song, "Dear, Delightful Dancing'' Montgomery.
Mies Louise Keeley.
Song, "The Red-Cross Banner" Nelson.
Mr. George Tedder.
Song, "Gentle Troubadour" Wallace.
Miss Emily Jonns.
Romantic Ballad, "ThoTwo Castles" S. Lover.
Mme. Catherine Hayes.
Solo, Violiu, "Raltarella"
Herr Moliquo, accompanied by Mr. Lindsay £ .
Dnet, "Tho Swiss Maidens" Holme*.
The Misses Brougham.
Song, "Margaretta" Balfe.
Mr. Sims Reeves.
Glee, "Maying" Muller.
Quartet Glee Union.
Song, "Tom Tough" Dibdin.
Song, "The Last R030 of Summer" Moore.
Madame Catherino Hayes.
Cavatina, "Away to the Fairies' Well" E. Land.
Grand Duet for Two Pianofortes, "Les Huguenots".. .. G.Osborne. Messrs. Benedict and Lindsay Sloper. Mr. ALBERT SMITH has kindly consented to appear in the course of the evening.
Gleo, "The Soldier's Love" Kucken.
Quartet Glee Union.
Song, "The Young Volunteer"
Song, "Under the Greenwood Tree"
Mr. Sims Reeves.
Solo, Violoncello, Fautasia.. Piatti.
Ballad, "Home, Sweet Home" H. Bishop.
Miss Laura Baxter,
Mr. George Perren.
New Ballad, "Clarine" L. 1
Mr. George Tedder.
Song, "Shadow Song" «
Duet, "Si la stanchezza" Verdi.
Mr. George Perren and Miss Laura Baxter.
Song, "La Vivandicra Vlanesi.
Miss Stabbach. Composed expressly for her. Mr. and Mrs. GERMAN REED will generously lend their assistance in a short selection from their POPULAR ENTERTAINMENT.
Conductors—Me-srs. BENEDICT, LINDSAY SLOPER, and W1LHELM GANZ.
The concert to commence at 8 o'clock. Places to be obtained from Mr. Austin at the Box Office, open dally, at the following prices :—Dross Circle, 4s. : Stalls on the Stage, numbered and reserved, 4s.; Upper Boxes, 3s.; Pit, 2s.; Gallery, Is. Private Boxes, £2 2s. and 12s. Oil.
FERRARI'S WORK ON THE VOICE AND SINGING, price 8s., may be hod at his residence, Devonshire-lodge^ For eland-road, Portland-place, and at all tho principal music-sellers.
"01* all tho treatises on the cultivation of the voice that have appeared for maay years, it is the most sensible, concise, and useful."—Daily Newt.
"There is more sense in this work than wo find in nine out of ton publications of a similar kind."—Atfunceum.
"Here is a really sensible work."—Muskal World.
PURE SCOTCH MALT WHISKIES,
ARE CHEAPER, MORE WnOLESOME, AND FAR SUPERIOR TO THE FINEST FRENCH BRANDY. ROYAL BALMORAL, a very fine, mild, and mellow spirit .. 18s. per Gallon. THE PRINCE'S USQUEBEAUGH, a much admired and) 18s
delicious spirit t
DONALD DUNCAN'S Celebrated Registered DD. Whiskey 1 D
of extraordinary quality and age i"
Two gallons of either of the above sent to any part, or sample forwarded for 12 postage stamps. Terms cash. 4, Burleigh-street, Strand, W.C.
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toBOOSEY & SONS, 28, Holies Street, Cavendish Square. „- ,7 a - ,• ,,,
t THK MOST mSTINODISHEP PATRONAGE OF
HER MOST GRACIOUS MAJESTY THE QUEEN",
.ciix'.Mi The Most Worshipful the Grand Muter of Ireland,
His Grace the DUKE of LEINSTER, ■ •svs iA Jad Several other 2>ittingwhed Freemason*;
His Excellency the Lord Lieutenant of Ireland, the .i.uxi .d EARL of —
„ J of EGL1NTON and W!
The LORD BISHOP OF MANC'_
The Bight Worahipful the MAYOR OF MANCHESTEP., IV1E MACK1E. Esq. His Worship the M .vor oi Salford, W. HARVEY, Esq. 8IH FREDERICK GORE OUSELEY, Bart., Director of Music at the University of Oxford. And SMfty of the Nobility, Oentry, Clergy, and distinguished Families of the Empire.
'wo.,? DR. M A R K'S
. GREAT NATIONAL ENTERPRISE
Organised in 1848, and developed at THE ROYAL COLLEGE OF MUSIC BRIDGE STREET. MANCHESTER, established by him expr,s»ly as a Great National Institution tt» facilitate the Encouragemt-nt and Promotion of NATIVE MUSICAL TALENT, and He GENERAL ADVANCEMENT OF MUSIC AMONG THE RISING GENERATION, up-.« his new and effective system, also as a Normal School for the training of masters to conduct Costhkrvatoireb or Much; to be established throughout the United Kingdom, for Ijtti.k Childrex, the whole comprising an entirely new scheme of NATIONAL EDUCATION, by blending music with general inatruction, so that the study of mutic «ha]l become a branch of education in the humblest of schools of this country. To illustrate and to rouse an interest in every town and city for these Institutions, Dr. Mark travels with a number of his pupils occasionally through thecountry—giving lectures, and introducing bie highly approved and pleasing Musical Entertainment, entitled DR MARK AND HIS LITTLE MEN, who number upwards of Thirty Instrumentalists, and a most Efficient Chorus, the whole forming a most unique and complete Juvenile Orchestra, composed of LITTLB ENGLISH, IRISH. SCOTCH AND WELCH BOYS, FROM FIVE TO SIXTEEN YEARS OF AGE who play Operatic Selections, 8<.los. Marches, Quadrilles, Galops. &c„ and sing Songs un4 Cnoruses in a most effective manner.
and to whom Dr. Mark gives a gratuitous APPOINTMENTS OP MASTERS AND « THE ABOVE Inoiauiiun,
Principal of the Royal College of Music; Director, Com ^ Conductor; Lecturer to both Private and Public, «* and Practical Instrumental and Vocal Classes •ft" Master of the General Educational Department:} ia^-Writing, Reading. Arithmetic. Grammar, Dictation, 1
. ■ History, Geography, Practical Geometry, and Book.keeping
■ Organ ..
Mr. Powrtjl and Two ) Assistant Teachers.
PRACTICAL ASSISTANT TEACHERS.
Mr. Baker. ■
Tears t books.
Twelve appointments ready Pot Prospectuses, apply direct to the Royal "■icheeter.
r. Mark Is also open to Encasement* with hie) Little Men. , 1
Dr. MARK begs to invite the Parents and Friends, and all those Interuated in » Enterprise and in the Education of the Youths of this country to visit his -'iliahment. Visiting hours:—From Nine to Eleven, a.m., and Two and , p.m. Saturdays and Sundays excepted.
ST. JAMES'S HALL,
REGENT-STREET AND PIOCADILLY.
MONDAY POPULAR CONCERTS.
THE SIXTEENTH CONCERT OF THE SEASON,
- *HK INSTRUMENTAL PIECES -BS- I .'Kf
Sofa Stalls, 5s. ; Balcony, 9s. ; Unreserved Seats, Is.—Tickets to be had of Mr. Austin, at the Hall. 28, Piccadilly; Messrs. Cramer and Co., Hammond, Addis' n, and Co . 8chott and Co., Ewer and Co., Simpson, Carter, and Ootzmaun and Co., Regent-street; Brooks, 24, Old Cavendish-, ti cot: Bradbeny's London Crystal Palace, Oxford-street; Duff and Co., 6a, Oxford-stre t; Prowso, Hanway-street; Wylde. Great Hall, Huugexford Market; Chidley, 195, High llolborn ; Purrlay. 50, St, Paul's Ciiuich-yard; Keith, Prowse, and Co., 48. Cheapside; Turmt. 19, Con .hill; Oook and Co., 0. Tinsbury-paoo, VoiftnJ Humficss, 4, Old Church, street, P.iddington«green; Mitchell, Leader and Co., Oliivier, Campbell, and Willis, Bond-street; and Chappill and Co., 50, New Bond-street. .''(■•-'
OAINT MARTIN'S HALL The GREATEST COM
O BLNATION of TALENT of the SEASON.—A GHAND EVENING CON-
ta have kindly promised, their valuable rsdorff, Mlsa Rebet-ca Isaacs, Miss Fanny
Cooper, G. Perreu, G. Tedder, Patey, All— ll llli^." ajnl Suntley, fcSgnor Oliva,
"jward, Miss Julia Woolf, Accompanyials: Messrs.
Frank Mori, Francesco Berger, Signor A. Bandeggev, and Chailoa Salaman. Tu commence at eight o'clock. Reserved seats, 5a.: Balcony, Ss.: Area, 2s.
Platform, Is. Tickets to be had at the Hall; the nrincip-d musiciellers; and at Mr. Austin's, St James's Hall.—S. Phillips, Hou. Sec.. 37, Alfred-pUca, Bedford square.
T. JAMES'S HALL.—On Wednesday evening next,
March 28th, tbeVopal Association (President, tlto Right Hon. the tt.rl of Dudley). Cot.ductors—Mr. Benedict and MTr. C. E. Horsley. Artist^—Madame Sain ton-Do! by. Miss I'aiaiy Rowland: pianoforte, Bliss Eleanor Waid; violin. Mods. Sainton. M.idrigals and part songs by tUo •--Ji■ -i T-. under the direction of M. Benedict, Tickets, Is., 8s., and £s. each, at the Hall. Commence at 8, terminate 10'1$.
ST. MARTIN'S HALL.—Mis JULIA WOOLF'S new Conccrtaote Duett for piano and violin will be performed for' the first time by her and Herr Greebe, at the above Hail, on Monday evening next.
WANTED, in a Large Provincial Musical Establishment, an Assist mt to manage the Paner Department. Apply, by letter, to H. L., caro of Messrs. Booteg and Sous, Holies-street, London, Yv.
ft. RAMSDEN respectfully announces that he will
retuni to Town, for the STa^bn, on tho 2nd of April. ■ Communications respecting Engagements, Pupils, &c, to be addressed to Messrs. Cramer, Beaie, and Ohappell, 201, Kogeut-strcet, W. ■
CIGNOR ROMML, the well-known professor of singing,
^3 has returned to London, after a lengthened tour through Italy, France, and Switzerland, quite rc-o stab lis lied in healttr.
MR. DYSON (Tenor), Vocalist, will sing the MESSIAH at Bary St. E lmtvnds, Marelr 27th; Heading, April 0th. morning and evening; Uxbrtdge, li'ih; Slough, lltk; Windsor, 12th, morning and evening. Maidenhead 13th. Letters to be addressed, 23, Clo:sturs, Windsor Castle.
Tiff IBS MARGARET Mc A LP IN E (Contralto),
-ltx reques'.s that letters respecting engagements for Oratorios, Concerts,
and Pupils, be addrissed to her rosidence, C3, Burton-erescent, New-read.
IV JR. TENNANT has returned to town. All comimmica
-L* L lions respecting engagements forhimvlf and Mrs. Tcnnant to Ik* addres-rrl to Messrs. Boosoy and Sons, 28, Hollos-strcct, Cavendish-square ; Messrs. Ch&pnell and Co . .'.0. New Bond-street; or to their residence, 307, Oxford street, New Bond-street) W.
MRS. TENNANT (Sister of Mr. Sims Reeves), begs to acquaint her friends and the public that sho continues giving lesions in singing. For terms, apply to Messrs. Boosey and 8ons, 28, Holles-strcct, Cavcndish-squaro; Messrs. Ohappell and Co., 60,"New Bond-street; oratherowu esidence, 307, Oxford-street, New Bond-street, W.
MISS STABBACH will sing Charles Salaman's New Ballad, "Goodbye! a longf:ood byo." at tho composer's concert, on the 29th March. Published by Addition, Hollier, and Lucas, 110, Regent-Street.
Price 2-. 6d.
MISS ELLEN LYON, Vocalist (Soprano). Letters respecting all public and private engagements to bo addressed So, Charle»
Btrcet, Bemers-street, W.
THE ARION" (Eight-Part-Choir).—The members of this Society will meet nutil further notice every Thursday evening, at 8 o'clock, at 13, Bernors-streot, Oxford-street. Conductor, Mr. ALFRED GILBERT.
, F. F. RE ILLY, Hon. Sec
Persons doairous of joining tho choir arc requested to address the §ocretiury.
MEYERBEER'S DINORAH AND STERNDALE BENNETTS MAY QUEEN, aro »ung nightly at tho CANTERBURY
HALL CONCERTS. Comic vocalists—Messrs. George H"ds >u (the Irish comedian and mimic), W. J. Critchfieid and B. H". Maokney. Several interesting picture, aro added to tho Fiuo Arts Gallery. , The suite of Halls havo been re-decorated
and beautified, und constitute oue of tlio must unique aud brilliant sights of the metropolis.
EYERBEER'S NEW WORK—"ASPIRATION"—
CANTIQUE. (Short \Anthem.) The words from tho orriginal latin of ThMinos a Kempis, "De imitati<me Christi." Composed for 8(X VOICES (three sopranos, two tenors, and bass), with Recitatives for a BASS SOLO, and Oryan fur Harui-mliun) accompauimont ad libitum, by GIACOMO MEYERBEER. Price, in score. 4s. London: Duncan Davison and Co., t44. Regent-street, where Moyerbeer'.i setting of tho Lord's Prayer, for four voices, Ss., and the Serenadfti tor eight voices, "This house to love is holy," 4b., may be obtained.
WANTED, A GOOD TUNER—For particulars, address, M. N., care of Messrs. Boosoy aud Son,
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THOMAS H. BATLIS,' Managing Director.
rpo VOLUNTEER RIFLE CORPS.—Boosey and Sons'
-L military band instruments, reed and brass, as well as bugles, drums and fifes, have b en used and approved of by almost every regiment in tho service, at heme and abroad. Thoso regiments that con temp ate the formation of a band, are invited to apply to the firm, who will be happy to recommend them competent uandmasU'i s, and render any further assistance that may be required.—Boosey and Sons, liollos-strcct, London.
EVANS'S ENGLISH HARMONIUMS.—Full particulars of these unrivalled instruments to be bad of the manufacturers, Boosey and Sons, '24 and 28, Holles-stroet, London. Manufactories at Wells-street
pASE'S PATENT CONCERTINAS, as used by
V-/ Skuor Rrgoudi aud Mr. George Case, arc remarkable for their suj>erior tone, and being less liable to get out of tunc thou any other English Concertinas. Prices from four to twelve guineas each. Manufactured by Boosey and Sons, Holies-street.
LURLINE.—The following are the favourite pieces in WALLACE'S new and successful Optra, LURLINE;—" Under a spreading coral." "Take t is cup of sparkling wiuo," "Flow on, oh, silver Rhine," "When thu night winds," '* Sweet Spirit, hear my prayer," sung by Miss Pyne; "Gentle troubadour," sunir by Miss Filling; "Our barque iu moonlight beaming," " Sweet form that on my dreamy g.ize." *' The chimes of home." sung by Mr. Harrison; "A Father's love,*' "Love, transient passion," tung by Mr. SantJoy. 9 Cramer, Beale, and Co., 201, Regeut-atreet.
T URLINE.—WALLACE'S NEW GRAND OPERA
for tho Pianoforte, as Solos and Duets, by W. H. Calcott; also Fantisias and Rondos from "Lurline" by Wallace, Favargcr, Osborne, aud , other eminent composers, Valse and Quadrille from "Lurline.1'
Cramer, Beale, and Co*, 201, Regent-street.
HER MAJESTY'S THEATRE.—The Public is respcctfulty informed that this establishment will open for the season, on Tuesday, April 10th.
FERRARI'S WORK ON THE VOICE AND SINGING, price 8s., may bo had at his residence, Devonshire-lodge, Portland-road,Fortland-placo, and at nil the principal music-sellers.
"Of all the treatises on the cultivation of the voice that have appeared for masy years, it is tho most sonsiblo. concise, and useful."—DaiXy Jfm«.
** Thore is more sense in this work than wc find in nine out of ten \ of a similar kind."—Atfunaum. "Here is a really sensible work."—,Afi«(ca( World.
"Dussek-s 'Plus Ultra' and Woelfls 'Ne Plus Ultra,' Sonatas for the Pianoforte, with Biographical and Critical Introductions—edited by J. W. Davison (Boosey and Sons)." "We spoke some time since of Messrs. Boosey's new edition of Woelfl's Ne Plus Ultra, and suggested that it should be followed up by a re issue of the far greater work, which Dussek gave to the world under the title of Le Rti ur a Paris, and his London publishers rechristened Plus Ultra. We have now the two sonatas before us— romarkable compositions both, whatever difference may exist in their respective values as artistic creations—in one elegant volume, and at a price* which, not very many years ago, would hardly have paid for The Battle of Prague, or for the once familiar Sonata dedicated to Mrs. Chinnery.f That every zealous pianist, amateur or professional, will make himself master of treasures so cheaply attainable, there can hardly be a doubt.
We have an objection or two to make, which, though of no great weight, is perhaps worth consideration, and may therefore be stated at once. The order in which the two sonatas are given in Messrs. Boosey's edition should be reversed. That Woelfl's Ne Plus Ultra was both composed and published before its present companion; and even were that not the case, it would appear from the title page of the London edition of Plus Ultra :—
In page 10 of the old edition (second part of the first movement), the same point occurs twice, in different keys, and in both cases have been altered accordingly. Now that in the first instance a harsh, unpleasant effect of octaves, and in another a still more disagreeable feint at fifths is done away with, we admit; but at the same time, unless on some undoubted authority, it is always dangerous to meddle with classical works. Who, for example, would presume to interfere with any of Beethoven's seeming eccentricities 1 Dussek was certainly not a Beethoven; but he was a man of genius, and is accepted universally as a classic. He was, moreover, by no means one of the most' uniformly correct of writers, and for these reasons we trust that in the next issue Mr. Davison will enter into some explanation of the liberties he has taken. Elsewhere he has dispensed with a good number of wholly superfluous accidentals, a proceeding in which we wish every editor would follow him, since the only result of such a flux of flats and sharps is to perplex and add to the difficulty of the player, when deciphering a piece of music for the first time. By their partial evasion, the sclusrzo (which, though virtually in the key of A flat major, begins in F sharp minor), becomes much less of an enigma, and is twice as easy to read.
The introductory essay, which considerably enhances the value of Messrs. Boosey's edition of the Plus Ultra, especially to those who love Dussek's music, and are curious about the man and his life, is much fuller of interesting details than that ■which is prefixed to Woelfl's Ne Plus Ultra. It contains, perhaps, the longest biography of Dussek that has hitherto appeared, together with copious remarks on his works, and on the influence they have exercised on pianists and pianoforte composers. We are unable to afford space for much quotation, but an extract or two, taken at random, may not be unacceptable. One of the most interesting passages is contained in a foot-note. Dussek, in his youth, it appears, was the paid organist at various places, and among others at Kuttenberg, Maliver, and Bergop-zoora :—
"This early familiarity with the organ," says Mr. Davison, "explains in some measure the constant addiction to full, rich, and expressive harmony which is remarkable in all Dussek's beBt sonatas for the pianoforte. Some of his slow movements—instance that of Les Adieur a Clementi (grand sonata in E flit, Op. 41), that of Le Retour a Pari*, better known as Plus Ultra (grand SDiiata in A flat, Op. 71), aud that of VInvocation (grand sonata in F minor, Op..77)—might almost have been written purposely for the organ."
To the foregoing is appended the note just mentioned. Professor Marx, a great authority in the present day, says nothing of the organ, bnt a great deal about the keyed harmonica,* and still more about English pianofortes, to which jointly he attributes the prominent features of Dussek's manner. That Dussek played upon the former instrument in Berlin, and afterwards at Milan, is unquestionable ; but that it had any influence on his artistic development we cannot believe. Passing over, therefore, the majority, the high flown sentences in which Professor Marx loves to establish this fanciful relationship Ijetween a frivolous instrument and an eminently thoughtful man, we cite with pleasure the observations of the same writer that relate to English pianofortes :—
"Dussek began h's musical career" (says very incorrectly the Professor), "as a player on the harmonica, and the choice of.this sensitive instrument appears just as much to have proceeded from the inmost nature of tho artist, as to have nourished and confirmed it."
• . #n t '.in * . 'I •'
"II s residence in London, and afterwards nith Prhioo Louis Ferdinand, brought another and congenial influenco from without to bear upon his artistic faculties. This was, that in both places he found no instruments to play upon bnt the English grand pianoforte, of which Prince Louie had in course of time imported no less than thirteen, being dissatisfied (ne arecrodibly informed) with the effect of all others. Whoever is acquainted with English grand pianofortes, end compares hem with those of other countries (for instance tlie Viennese) cannot fail to observe that a certain unconquerable sameness is peculiar to them, which easily imparts itself to the player, more especially when this charaot«rUtio happens to bo congenial to his nature. The tone of the English grand pianoforte, similar to the quality of the clarionet, is so full and continuous, so powerful and concentrated, that it wholly satisfies the ear, and that it both seizes and retains the undivided attention. This can by no means be said of other (for instance, the Viennese) instruments, whose tone, less satisfying, less resonant, in short, less decisive, leaves freer play to the fancy, whilst the character of the English grand piano is still extended by the soft pedal, with its highly sentimental, but somewhat monotonous efTect, and by the great depth of tho touch, which precludes nlmost every other style of performance than a legato of bruiul masses of harmony in extended positions, full of grandiose, noble and tender sentimentality. With this definitiou, to which we have almost unconsciously given, expression,
* The manufacture of oue H easel, an instrument which Dussek only took up for some immediate purpose, and then abandoned.
we believe that we have pronounced tne basis of Dussek's character, as it reveals itself in his many (mostly instrumental) works, especially in his compositions for piano, in which it continually more and more developed itself."
In considering the foregoing (Mr. Davison remarks, with justice), it should be borne in inhid, that Professor Marx is writing about the English pianofortes of more than half a century ago. The allusion of Professor Marx to Prince Ferdinand of Prussia has led to a note by the editor, which is worth quoting, as affording us a glance, however brief, at the private character and artistic idiosyncracy of an energetic and distinguished warrior, whose absorbing passion was love of music, and hatred of the French :—
"Frederick Christian Louis Ferdinand, Prince of Prussia, nephew of Frederick William II., born November 18, 1772, at Berlin, killed at the Battle of Salfield, October 9, 1806. This courageous, intellectual and amiable, though somewhat dissolute prince—one of the fiercest haters of the French, although a generous patron of Lamarre, the celebrated French violoncellist—was passionately addicted to the study and performance of music. An enthusiastic admirer of Dussek, he cultivated his society to such an extent, that disparity of rank was altogether overlooked, and the Prince and the Musician became friends. Dussek gave him finishing lessons in pianoforte-playiug ana in composition, to such good purpose that Louis Ferdinand achieved fame in both departments. When John Cramer visited Berlin, the Prince, delighted to show his proficiency, and also, as a graceful compliment to the musician, played without book, Cramer's own first PianoforteConcerto. "Prince," said the composer " your memory U astonishing; and you play my concerto much faster than I can myself," Beethoven dedicated his Third Pianoforte Concerto, (in C minor. Op. 37—first performed in j»ublio at Vienna, in 1804, by Ferdinand Eies, Beethoven's pupil) to Prince Louts Ferdinand, for whom he entertained a high esteem. Dussek inscribed to him the Quartet in E flat for pianoforte and stringed instruments (Op. 56), and afterwards consecrated to his memory the grand and pathetic Elegy in F sharp minor. Among the engraved compositions of the Prince of Prussia are a quintet for strings, an ottet for wind and strings, two quartets and two trios for piano and Btrings, a four-part fugue for piano solus, and a variety of smaller works. In the best and most imporant of these the influence of Dussek's manner is strongly apparent. •' It may be"—writes Professor Marx, in alluding to the intimacy between Dussek and Prince Louis—" that the Prince excelled the Musician in talent, at least in largeness and elevation of ideas, but he appears to have been indebted to tho latter for much technical assistance. At least, so far as we can judge from the conflicting testimony of their contemporaries, the mutual influence of these two distinguished men upon each other is indisputable. It is apparent in the works of both, though it is likely to have been more to tlie advantage of the Prince than of Dussek, since the technical part of art is easier to communicate than the spiritual. But whoever is acquainted with the high-souled productions of Prince Louis will feel grateful to his friend for the share he has had in them." . . , .
That Professor Marx is more of a courtier (it must not be forgotten that he resides at Berlin) than the modern Plus Ultra, is revealed through a foot-note, in which the latter, somewhat ill-naturedly, surmises "that Dussek did more than advise the Prince of Prussia in his compositions" —which can only be translated that he helped him to compose them. While on the subject, we are at a loss to explain why Mr. Davison should have discarded Professor Marx's critical analysis of Dussek's style, which, though wordy and occasionally vague, contains some valuable suggestions. We are able, however, to supply the omission :—
"If we wish to obtain a full and vivid perception of Dussek, we must begin with the contemplation of his early, easy works, and proceed from them to the later, larger and maturer ones, of which wo quote here, as examples, the concertos in G minor and the sonatas.
"In all these wo perceive, together with a thorough and welldeveloped technical proficiency, an aspiration, quite free from all purpose of executive display or trickery, to draw forth all the resources of the instrument, a noble aim directed to the inward recesses of art, an emotion which strives to communicate itself to the soul of the hearer. We could aay, without exaggeration, especially of hit later and