whose reputation as a professor then stood very high. This fact, for some unfathomable reason, used to be kept a secret by Chopin, and was openly denied by some of his friends, indisposed to believe that such a wayward and fitful genius could receive any benefit whatever from the tutelage of a musical drill-sergeant. It is, nevertheless, true; and equally so that Mendelssohn, with whom at the time Chopin had con tracted a friendly intimacy, expressed his astonishment, on being told by Chopin himself that he had come to Paris expressly to study under Kalkbrenner. Why,' said Mendelssohn-always quick to appreciate talent in others—'you play better than Kalkbrenner.""

And so he did-as all can testify who ever heard him, even when sickness weighed him down, and he was scarcely more than a shadow. Chopin's play, indeed, was so original and individual, that his music, performed by almost any of the great pianists, his contemporaries (Filtsch alone excepted), seemed to want something, which though undefinable, was indispensable to its perfect interpretation.

PART I.-Overture, "Isles of Fingal"-Mendelssohn. Aria, "O del mio dolce ardor"-Stradella. Concerto in E flat, pianoforte-Mozart. Aria, “Pensa alla patria”—Rossini. Pastoral Symphony-Beethoven. PART II.-Overture, "Masaniello"-Auber. Chorus, "Away, the morning freshly breaking"-Auber. Song, "The first violet"-Mendelssohn. Fantasia, violin, "Hongrois"-Ernst. Aria, "Robert, toi que j'aime"-Meyerbeer. Hungarian March-Berlioz.

Mendelssohn's grandly picturesque overture and the Pastoral Symphony, to the lovers of grand orchestral music, were treats of a high order, and thoroughly enjoyed. The pianoforte concerto was entitled to unqualified praise. We have rarely indeed listened to a more splendid performance. That such a work should be seldom introduced in public is unaccountable, seeing that good pianoforte concertos are not too plentiful, and that this one in particular, for symmetry of design, beauty of details and novelty of ideas, has never been surpassed. The concerto in E flat, in short, may be reckoned among the finest, not only of Mozart, but of any composer. Miss Arabella Goddard's performance was faultless from end to end, and her execution of the cadenzas introduced in the first and last movements (Hummel's) a triumph of mechanical skill, united to consummate grace. Her success was triumphant. Herr Becker played Ernst's very difficult piece with surprising skill and taste, and brilliantly inaugurated his first appearance at the New Philharmonic Concerts. In the overture to Masaniello, the vigour and energy of the band were remarkable.

The vocal music was allotted to Madame Sainton-Dolby and Miss Augusta Thomson. Stradella's air was sung admirably by the first-named lady, and (need we add?) Mendelssohn's "First Violet" to perfection. The air from the Italiana in Algeri is hardly suited to Miss Augusta Thomson, whose style is better adapted to the French than the Italian school. The air from Robert was quite another affair.

The audience was numerous and fashionable, and, as a manifestation of the progress of music, it may be stated that Dr. Wylde's subscription this year is larger than ever.

The septet was repeated by general desire, the impression it created at the fourteenth concert having been very great, in spite of its being the last piece in the programme. The superb sonata in E major (Op. 109) was the interesting novelty of the concert. Even the most enthusiastic admirers of Beethoven were doubtful about the reception which would be accorded to

this, one of the most profound of his latest compositions. They chained from the commencement, and a more genuine triumph were not long in suspense, however. The audience were enwas never achieved. That much of this was due to Miss Arabella Goddard's magnificent playing can hardly be denied ; but the feeling created by each movement, more especially by the variations, Andante molto Cantabile, was not to be mistaken. The applause at the end was genuine, and Miss Goddard was unanimously recalled to the platform. It is now established beyond further question that the later sonatas of Beethoven are no more "caviare" to the multitude than the so-called "Posthumous Quartets," and the directors of the Monday Popular Concerts have entitled themselves to the gratitude of lovers of real music for settling the matter, through the medium of Miss Goddard's admirable talent, at rest. Every great violonist has his peculiar mode of playing the Kreutzer Sonata. Herr Becker's style no more resembles that of Herr Wieniawski, than Herr Wieniawski's that of Herr Joseph Joachim. The execution of this incomparable work, however, won new laurels for Herr Becker, and, with Miss Arabella Goddard at the piano, the excellence of the performance may be easily estimated. It was another triumph for the work, and out of the large audience assembled, only three or four ladies rose to depart before the last note of the last movement had been heard. The lovely romance, played to perfection by Herr Becker, was encored with acclamations, and the one in F major (Op. 50) substituted in its place. Herr Becker seems to know all the good music

extant.

The vocal music was shared between Miss Fanny Rowland and "Kitty, dear Kitty," and Miss Rowland the other ballads. and Mr. Tennant, the gentleman singing "Sally in our alley," Both lady and gentleman did themselves infinite credit. These and should lead to other contributions from the same source on fine old specimens of English melody gave great satisfaction, another occasion.

CONCERTS.

SACRED HARMONIC SOCIETY.-On Friday, the 23rd, Haydn's Seasons was given. The performance had, to some extent, the attraction of novelty to recommend it; hence the crowded audience which thronged the building in every part, despite the rain, which steadily descended in torrents for some hours. Of the general execution, we are bound to speak in highly laudatory terms, band, chorus, and principals, all exerting themselves with the best possible effect. There being but one female solo part, Miss Parepa had undivided possession of the soprano music, and confirmed the favourable impression previously recorded in our notice of her first appearance at Exeter Hall, in Judas Maccabæus, although the majority of her pieces being concerted, she had less opportunity for display than was afforded her upon that occasion. Mr. Sims Reeves again distinguished himself, particularly in the airs, "Distressful Nature," and "Now o'er the dreary waste," both being perfect master-pieces of singing, and drawing down enthusiastic applause. Wilbye Cooper sang with all his usual care and correctness. Mr. Weiss sustained the whole of the bass music, and showed himself as thoroughly at home in Haydn as he invariably does in Handel. The vigour and energy imparted to the air, "With joy the impatient husbandman, "had the effect of causing the audience to forget all about the stereotyped veto, and applaud most heartily. In our last notice of the Sacred Harmonic Society we took occasion to observe that at the performance in question (Judas Maccabaus), the ordinary injunction had been withdrawn. We now find (as usual), at the foot of the programme that, "In consideration of the sacred nature of the performance, the audience is requested to allow it to proceed without interruption from applause or encores."

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written, was also redemanded and repeated. In Hauptmann's piece, the solo parts were sustained by Miss Fosbroke, Mrs. Dixon, Mr. Regaldi, and Mr. Hodson; in "O Nanny, wilt thou gang with me," by Miss Clara Hemming, Miss Sheppard, Mr. Richard Seymour, and Mrs. Gadsby. Mrs. Percy and Miss Leffler gave Mr. Smart's beautiful duet. Miss Freeth was equally successful in. the fantasia and the sonata. Both were well executed, but the undue acceleration of the tempo in the first and last movements of the former was hardly an improvement. The galleries were crowded, and the body of the hall was well filled.

CRYSTAL PALACE.-The last two concerts-Saturday the 17th and Saturday the 24th instant-did not present any novel points of interest. At the former the instrumental pieces comprised Haydn's symphony in B flat, and the overtures to Melusina (Mendelssohn) and the Flauto Magico (Mozart). Madame Saiuton-Dolby and Miss Parepa were the vocalists, and M. Sainton played two solos of his own composition on the violin. The ladies were encored severally in Mr. Balfe's ballad, "The green trees whispered low," and the cavatina from Victorine, Oh, bright were my visions;" and M. Sainton was loudly applauded in both his performances, chiefly in his Lucrezia Borgia. There was a good attendance.

66

At the concert, last Saturday, Mr.Augustus Manns, not satisfied, let us suppose, with the reception accorded at the concert on the 10th instant, to Robert Schumann's symphony in B flat, introduced it a second time, and announced in the programme its repetition as by "special desire." This, no doubt, referred to a few individuals, lovers of the music of Robert Schumann, who, with great philanthropy, would convert all to their own way of thinking. The symphony did not much improve on closer acquaintance. The overture to Fidelio was the only other piece for the band, who, it must be confessed, aided Mr. Manns to the best of their power to ensure a favourable reception for Schumann's work. Herr Becker, who appeared for the first time at the Crystal Palace, created a highly favourable sensation in Paganini's "Nel cor piu," and Ernst's "Airs Hongrois." The vocal music was entrusted to Madame Catharine Hayes and the Orpheus Glee Uuion. The lady gave Mozart's "Non temer" (violin obbligato, Herr Becker); Lachner's song, "The sea has its pearls," and "The Irish mother's lament." The Irish ballad was given with so much expression as to elicit a general call for its repetition. Madame Hayes, however, substituted "Comin' thro' the rye," which, though more comic, was less effective. The Orpheus Glee Union sang Webbe's "Discord, dire sister," and Muller's "Maying" with precision if not much power. The attendance was larger than on the previous Saturday.

WILLIS'S ROOMS.-Master Horton C. Allison, pupil of the. eminent pianoforte professor, Mr. W. H. Holmes, gave a concert in the lower room at Willis's, on Tuesday morning. This young gentleman, though not yet thirteen, has already made some noise in the musical world. His first appearance in public, we believe, was in 1858, when he gave a concert in Willis's Rooms. Last year Master Allison performed, at Mr. Holmes's Annual Concert of his Pupils, in the Hanover-square Rooms, and specially distinguished himself. The pieces he selected on Tuesday were Fugue (No. 2 of the Book of 48 Fugues), Bach; Allegro, in F major, from the Suite de Pièces, Handel; Fantasia and Fugue, Mozart; Andante and Rondo Cappriccioso, Mendelssohn; Sonata, No. 2 (dedicated to Haydn), Beethoven; Chopin's Seconde Ballade; Herz's Fantasia on the March from Otello, and, with Mr. Henry Blagrove, and Mr. Aylward, Haydn's trio (No. 1), in E flat, for pianoforte, violin, and violoncello. Master Allison has great power and great dexterity, but his power is not invariably well regulated, aud he is too fond of exhibiting his power at the expense of other qualities no less indispensable in pianoforte playing, and which we have little doubt he possesses. All his performances were interesting, but Haydn's trio was perhaps the best. Such a talent as Master Allison possesses is well worth cultivating, and he is lucky in having the counsel and tuition of so accomplished a master as Mr. Holmes. The programme was varied by songs, and a solo on the concertina by Mr. Richard Blagrove. Miss

Fanny Rowland gave Macfarren's "Beating of my own heart," with exquisite feeling, besides an aria by Donizetti. Mr. Allan Irving sang "The White Squall" and an air by Donizetti, displaying both method and style. The room was tolerably full, but the applause faint, the majority of the company belonging to that sex whose approval is rather indicated than expressed.

SACRED HARMONIC SOCIETY.-A grand vocal rehearsal by the London Division of the Handel Commemoration Festival Choir, numbering above 1,600 voices, took place last night at Exeter Hall, under the direction of Mr. Costa.

LETTER TO THE EDITOR.

VOCAL ASSOCIATION.

Sir, We have too many choral societies already, and without applying this remark to the one in question particularly, I may cite the programme of Wednesday last as a proof that choral music in London is overdone. There is no band at the Vocal Association's concerts this

year, and the selections are therefore limited to madrigals, glees, and other unaccompanied part-music. This brings the body into rivalry with Mr. Henry Leslie's Choir, a dangerous position for any society to be in. The music on Wednesday last was very uninteresting, the partsong "Remembrance" (Mendelssohn) and one or two English madrigals, and these of the most hackneyed, being the only works of merit on the list. It is certain that some alteration must be made; either the band must be restored, and large works performed, or war to the knife with the more finished and cultivated rival above alluded to must be declared. Where is the "Orchestral Association ?" By this time a goodly array of amateur instrumentalists should be ready, and the two "Associations" might work together for their mutual advantage.

Here again, what are the solo vocalists about? Why don't they let others choose for them? Madame Sainton-Dolby generally knows what she is about. On Wednesday night she sang two of the best known pieces in her extensive répertoire" Cangio d' aspetto" (Admetus), contrary, was unwise in selecting " Or che in cielo" of Mozart. It is Handel; and "The green trees," by Balfe. Miss Fanny Rowland, on the too thin for her style of vocalisation, which inclines to the robust. Concert, both from his own pen. Miss Eleanor Ward, a young lady of M. Sainton played "Fantasia on La Traviata," and a Valse de prepossessing exterior, made her first appearance. She exhibited some executive talent, particularly a clear and well-defined trill and repetition touch, in a fantasia on Marta by Herr Wilhelm Kühe. I am not much impressed with the advisability of writing fantasias on operatic airs; and a few bars of the sparkling Flotow watered down to about twenty pages by Herr Kühe, is as unsatisfactory an achievement as the latter's worst enemies, if he have any, could desire. I remain, Sir, yours, &c.,

NON-CONTENT.

LEICESTER.-Messrs. Henry and Alfred Nicholson gave a performance of Mendelssohn's Elijah, at their anuual concert, on Monday, 26th inst. The principal vocalists were Madame Weiss, Miss Palmer, Mr. Sims Reeves, and Mr. Weiss. The secondary parts in the quartets and terzetts, &c., being filled up by Misses Deacon, C. Weston, and Groscock, Messrs. Sansome, Branston, and Christian. The orchestra consisted of the local instrumentalists, strengthened by assistance from London, Birmingham, Manchester, and Nottingham; the chorus was that of the Leicester New Philharmonic Society, and numbered some 200 performers. Mr. Alfred Nicholson was the conductor. The performance gave great satisfaction.

LEEDS. The last concert but one of the season was given on Saturday last, by the Town Hall Concert Society, when the following were the performers:-Miss Clarke, Miss Watson (both débutantes in Leeds), Mr. Inkersall an Mr. Henry Phillips. The programme was made up of old English ballads, varied by two organ solos, cleverly played by Mr. Spark, the conductor of

the concert.

ORGANIST FOR THE LEEDS TOWN HALL.-At a special meeting of the Leeds Town Council, to be held this day (Saturday), the following resolution is to be proposed :-"That the Town Hall Committee be authorised to make arrangements for the election of an organist, at the salary of £200 per annum."

occupies the post of première chanteuse at the Opéra Comique in Paris, and was the original Dinorah in Meyerbeer's Pardon de Ploërmel-is also one of the company. Whether Mad. Cabel, who made such a deep impression on John Bull at the St. James's theatre, in several operas of Auber, Adam, &c., will be equally successful on the Italian stage, which she has never yet tried, remains to be seen. Report says she is to appear in a new Italian version of Dinorah, but report is not always a truth-teller; and Manager Smith has not been explicit on this head. Here, by the way, would be a good chance for the often-asked-for Domino Noir-or, as it, has long threatened to become, Domino Nero.

Last, not least, the universally popular Mdlle. Titiens will not only reappear as Valentine, Norma, Lucrezia, &c, but with other operas, in which, though famous abroad, she is unknown here—such for instance as Fidelio, Der Freischütz, and Oberon. Weber's Oberon, which though of English birth, has been little cared for in England, will, in all probability, constitute the "special novelty" of the season; and upon its prodaction, we hope, as we are given to understand, no pains or expense will be spared. Mr. Benedict (Weber's favourite pupil) is composing recitatives for the Italian version, and his name is a guarantee for the fidelity and talent with which this difficult task will be accomplished.

Last, and least (in proportions), Mdlle. Piccolomini has accepted an engagement, and, in six farewell performances of six of her most popular parts, will take her final leave (unless her aristocratic future husband should change his mind) of the English public, and—it is said (on dit)-public life. The muses will weep and put on sackcloth.

About the other lady-singers we say nothing beyond stating that Mdlle. Brunetti is reported (reported) a talented vocalist of the Persiani school. A pupil of M. Duprez, Mdlle. Brunetti made her début some time since at the Grand-Opéra of Paris-the reason of her abandoning which great lyric temple, where now they sacrifice to Poniatowski, has not transpired.

The list of tenors includes Signors Giuglini, Mongini and Belart, besides some of lesser-or, speaking in the Palace of Truth-no note. Signor Giuglini intends confining his exertions to his old répertoire, while Signor Mongini will make a first attempt at several characters, the most important of which are Otello, Florestan (Fidelio), and Sir Huon (Oberon). God speed him! These are up-hill parts for a quondam Elvino.

No new name of consequence appears among the barytones and basses except that of Signor Everardi, who now enjoys, at Vienna and St. Petersburg, and formerly in Paris, at the Italian Opera, a high reputation as a singer of Rossini's music, which commodity, with such artists as we have enumerated, will, it is likely, be more generally in request than has been the case of recent years. M. Gassier, too-an adept in the same line, as English amateurs well know-is also not merely on the, books, but prepared once more to challenge public opinion.

The list of the band has appeared, and in stating that, to officiate at the head of the first violins, are appointed Herr Molique and Mr. H. Blagrove, and at the head of the second violins, M. Tolbecque, we cannot refrain from adding a strong hope, that all the rest may be as efficient in proportion. Mr. Benedict is not a likely man to undervalue the immense importance of a thoroughly good orchestra, both in numbers and in talent, and will doubtless be on the alert. Meanwhile, all we know about the chorus is, that a new

chorus-master, Signor Vaschetti, has been summoned from Bologna (where Rossini fed pigs, ate sausages, and turned fishmonger), and that he will obey the summons.

The ballet arrangements, even for her Majesty's Theatre, look unusually powerful and complete, and in perspective bring us back to the days of the Pas de Quatre and the triumphs of Esmeralda Carlotta, when Terpsichore was worshipped, danseuses were deified, and even danseurs (thanks to the inimitable little Perrot) admired by one sex (the "beau"); and tolerated by the other (the "laid"). We may point emphatically to Marietta Pocchini, one of the most accomplished of living danseuses; to Amalia Ferraris, idol of the French and Russian capitals; and to Claudina Cucchi, who has jilted her Parisian adorers to turn the heads of the Viennese. These make a splendid trio to begin with. The promised new ballets, and the period for the expected rising of each "particular star," may be ascertained by a reference to our advertising columns; we cannot enumerate them here. Enough to add that M. Pettit is at the head of the ballet department, a pledge for its efficiency.

The theatre has undergone thorough renovation within and without. The old frequenters will hardly recognise the interior. The pit-vestibule, the lobbies on the grand tier, and the crush-rooms, are lined with mirrors. The walls have been papered, the ceilings painted, the floors and stairs carpeted, the chandelier glossed and burnished, the stalls newly arranged, &c., &c. A conservatory is, we understand, projected, on the balcony overlooking the Haymarket, which, being on a line with the grand tier, will cause no inconvenience to promenaders. The Concert-room, too, is to be Her Majesty's Theatre, in point of anything excepting its "freshened," and converted into a lounge-room. In fact, outward and inward conformation, its "power of sound," and its amber curtains (Lumleyan legacy), will be a new edifice. Much more might be said of what is in progress, but enough has been adduced to show that the new manager emphatically intends "business."

What would Her Majesty's Theatre before the curtain be without Mr. Nugent? N'importe-Mr. Nugent is once again before the curtain, or, more properly, behind the mahogany desk in the Box-office, whence he will dispense boxes, stalls, and good humour, with his accustomed placidity and gentlemanly bearing.

JOHN, the waiter of the Edinburgh Castle, never very florid, was ten times paler than usual at the hubbub made by the three Anabaptists, who had rushed from the Royal English Opera, each armed with a book of Lurline, and who, occupying the choicest seats, and giving no orders whatever, were making the coffee-room ring with their noisy aesthetics.

"Ye thick-headed children of Belial !" bellowed Knipperdolling, "the sense is as clear as the sun at noon-day, or the light of the blessed John of Leyden. Offended skies are demons lashing,' that is to say, demons are lashing the offended skies,-offended either on account of things in general, or because the demons are lashing them."

66 Shut up thine heretical mouth, accursed Manichee!" roared Matthias," or rather worse than Manichee, for thou makest the powers of darkness triumphantly smite the powers celestial. The natural order of the words, too, should teach thee,-apart from theological considerations-that the skies lash the demons,-not the demons the skies."

"Both utterly false and utterly perverse," growled the third Anabaptist. third Anabaptist. "Our poet doth not merely state a fact