'"' Chopin's Mazurkas? in eleven books, complete, with a Biographical and Critical Introduction—edited by J. W. Davison (Boosey and Sons)." "Chopin for the many" will, perhaps, appear an anomaly to those who look upon the individual Chopin as a spirit, dwelling away from the mas3 of artistic workers, and devouring his own heart in defiance of the oracle of Pythagoras—" Cor non edite" (which will be disregarded by secret mourners, so long as the world lasts). Equally anomalous will it sound to all who have read (and can understand) the rhapsody published by Messrs. Wessel and Stapleton, some twenty years ago, under the name and title of An Essay on the Works of Frederic Chopin, in which Shelley's definition of Coleridge—

"He was a mighty poet.
And a subtle-BOuled psychologist"—

is placed to the account of Chopin himself, with a stretch of indulgence that not one of the three Anabaptists who figure, as customers at the Edinburgh Castle, together with the learned Epistemon (in our leading columns of to-day), would have accorded to Mr. Fitzball, whose recondite verse they severally endeavour to explain or contemn. But the real fact is, that what is intrinsically good and true, however at the outset confined to a narrow circle of appreciation, must in the end find its way to "the many," from whom it will receive the stamp of immortality. That which never can by any chance become popular is somewhere intrinsically wrong. "Popular" is one thing—"vulgar" is another; and we must beg our readers to admit a wide difference in the signification of the two epithets. The popularity of "The Batcatcher's Daughter" is a very dissimilar matter from the popularity of Mendelssohn's Lieder ohne Warte, and springs from wholly dissimilar sources. The first finds its way speedily to the barrel-organ; the last must not aspire to such distinction, for it would never be likely, under any circumstances, to obtain it; and indeed it would be a pity if the contrary were true. The Mazurkas of Chopin stand much in the same predicament, notwithstanding that they proceed directly, in the majority of instances, from the fountain of National Tune, in which Chopin's country (Poland) is so individual and so rich. The poetmusician has endowed them with a new physiognomy, and in effecting this has separated them for ever from those vulgar sympathies with which art has nothing whatever in common. Probably among the numerous productions of Chopin, the Mazurkas are the most genial and characteristic. The natural offspring of his peculiar idiosyncracy, they breath his spirit, reflect his sentimentality, and are the truest media of communication between his inner self and the outside world, which he, like all men specially gifted—men of genius, in short—was born to delight. We verily believe that there is more of the genuine spirit of Chopin in one of these brief Mazurkas, than in the whole of his concertos, sonatas, and larger compositions put together. Whereas, in his elaborate compositions, he was stilted, mannered, and catachrestical, in his Mazurkas (and the minor effusions) he is nearly always spontaneous, natural, and, therefore, sympat/ietic. With this conviction, we can endorse, without reservation, the words with which the editor, whose labours are now before us, sums up the paragraph in which he briefly glances at the entire production of Chopin :—

, "That Chopin.however, excelled less in works of' tongue haleine' than in. those of smaller pretensions, will hardly be denied. His Etudes, his

Preludes, his Valses, his Nocturnes, and above nil his Mazurkas, are qui to enough to save him from oblivion, whatever may eventually become of his concertos and sonatas. The variety with which in the Mazurkas helms said the same thing some fifty times over, will go further than anything else to prove that Chopin's genius, whatever its eccentricities and failings, was decidedly inventive. The best of the Mazurkas are without question those that smell the least strongly of the lamp, those which, harmonised in the least affected manner, are easiest to play, and bear the closest affinity to (in some cases are almost echoes of) the national d.mce tunes of his country. Some of them are gems, as faultless as they are attractive, from whatever point of view regarded: others, more evidently laboured, are less happy; but not one of them is wholly destitute of points that uppeal to the feelings, surprise by their unexpectedness, fascinate by their plaintive character, or charm by their ingenuity."

The distinction between Chopin's more ambitious efforts and those which (like the Mazurkas) came most directly from his natural genius may be likened to the distinction between the formalities of high-bred society and those in the humbler spheres of life in Poland. The Polish gentleman preserves, in his vocabulary of polite intercourse a strong imprint of the hyperbolical features of oriental phraseology. The expressions, "Very powerful," and " Very enliglUened, Sir," are still indispensable. That of "Benefactor" (" Dobrodzi") is frequently employed in conversation; while the customary salutation between gentlemen, or from gentlemen to ladies, is, " / throw myself at your feet" (Padam do Nog"). The people's salutation, on the other hand, is " Glory to God" ("Slawa Bohu"). The works of Chopin might, without any very great impropriety, be classed under the two heads of Padam do Nog (including concertos, <fec.), and Slawa Bohu (including Mazurkas, <fec).

Mr. Davison's general view of Chopin, as a man and as an artist, will, probably, be regarded by some as scarcely favourable, if not indeed somewhat prejudiced. It certainly differs in toto from that inculcated in the Essay—or " Yellow Book," as it was nick-named—on Chopin, which at the time of its appearance was (truly or erroneously), attributed to his pen. We have shown how he speaks of the Mazurkas in Messrs. Boosey's new edition; see how he raved about the same exquisite trifles in the "Yellow Book."

"Among the lesser compositions of Chopin, the mazurkas—those 'cabinet pictures,' as Li-zt has happily designated them—those green spots in the desert—those quaint snatches ot melancholy song—those outpourings of an unworldly and tristful soul—those musical floods of tears, and gushes of pure joyfulness—those exquisite embodiments of fugitive thoughts—those sweet complaints of unacknowledged genius— stand alone and unrivalled. These are wholly and individually creations of Chopin, which none have dared to imitate (for who, indeed, could aspire to imitate that which is inimitable ?)—pourtraying, in vivid colours, the patriotism and home-feeling of the great Polish composer (we need hardly remind our readers that Poland boasts the honour of having given birth to Chopin), affording vent, in passionate eloquence, to the beautiful and secret thoughts of his guileless heart. Of these, theia are eight sets,* all of the rarest loveliness—sparkling with genius—redolent with fragrant thought—very nosegays of sweet and balmy melody. If we have a preference, where all is beauty unsurpassed, it iB for the first and sixth seta, which, for quaint and happy melody, rich and delicious harmony, ingenious and novel treatment, are unrivalled since music was an art."

We have not quoted more than a third of this rhapsody, at the end of which, on throwing down his pen, the writer might appropriately have addressed Chopin in the Polish formula, after the Grand Seigneur has entertained his guests with a magnificent feast—"Czyni bohat, tym rad" (which, paraphrased in English, would be—"Deign to pardon what is unworthy of you, but it is all my poor wealth that

* The last three had not then been composed.

I place at your feet"); for surely such a banquet of literary adulation was never served up to king or hero, even by the historiographers who recounted the virtues and exploits of the Cresars. However, "Let by-gones be by-goncs;" the modern opinion is probably the sounder of the two, and we have no wish to quarrel with it.

Mr. Davison's preface, like that to Dussek's Plug Ultra (ante, page 183), contains almost as much of biographical and anecdotical as of critical and analytical matter; and, had we space, we could entertain our readers with no end of ana. We must, however, be satisfied with one or two extracts. Here is a paragraph about Chopin's early love :•—

"Chopin never married; but he cherished, it is said, an attachment all his life. This Dr. Liszt informs us was for a young compatriot of his hero—' belle et douce jeune fille, comme une Madone de Luini, &c.' It appears that this 'belle et douce jeune Jille' loved Chopin with an earnest love to the end, and really, in examining the scanty incidents of his life, it is difficult to assign any reason why he should not have married her. She was faithful to his memory after death, and wasted her maidenhood in constant care and solicitude for his surviving parents. She made a portrait of him, which Chopin's father would nover allow to be replaced by any other; and in a thousand various ways exhibited her devotion,"

The origin of the Chopin-Mazurka may be cited as a corollary to the foregoing :—

"But Chopin, who (like Steerforth) was very popular at school, becamo intimate with Prince Borys Czetwertynska and his brothers. At their house, where music was assiduously cultivated, he saw and knew the Princess-mother, 'belle encore,' and ot an 'esprit sympathique' whose saloons were the most brilliant and recherches in Warsaw. The Princess-mother was, nevertheless, only a monad in the new sphere which now became Chopin's universe. 'At her house Chopin often met the most distinguished ludics of the capital; he became acquainted with those teductive beauties whose renown was European, at a time when Warsaw was celebrated for the Mat, the elegance and the grace of its society. Through the intervention of the Princess Czctwertvnska he had the honour ot being introduced to the Princess l.owicz, at whose house he became intimate with the Countess Zamoyska, the Princess Badziwill, and the Princess Jablonowska — enchantresses, surrounded by other beauties less illustrious'

"T cc conception of the Mazurka, ns Chopin understood it, here took piece in his perplexed brain. Let this important period be described at length—with the apology that Dr. Liszt's French is not easy to reduce into English :—' Still very young, it fell to the lot of Chopin to govern their steps by the chords of his piano. In these reunions, which might bo likened to assemblages of fairies, he was no doubt often enabled to discover, suddenly unveiled in the whirl of the dance, the secrets of those aspiring and tender hearts; he was able without difficulty to read in their souls, which leaned with friendly sympathy towards his adolescence, and saw of what a

mixture of levain and pate de rose (of —— and ;but the original is

inimitable) of saltpetre and angel's tears (!) was kneaded the poetic ideal of his country. When Ins fingers unconsciously ran over the keys, and drew from them a succession of touching harmonies, he was able to divine in what manner the secret tears of enamoured girls and young neglected wives were shed; how tho eves of men both given to love and jealous of glory became humid with emotion. How often must some lovely girl, petitioning for a simple prelude, have leaned her beautilul elbow on the instrument, to suppoit her dreaming head, and allowed Chopin to guess from her look the strain her heart was singing; how often mu=t a group of nt/.nphes fotulres, in order to coax out of him a waltz of veriiginous rapidity, have besieged him with smiles that placed him in unison with their gaiety! There he saw unfolded in the Mazurka the chaste giacesof his magnificent countrywomen,' &c, &c, &e.

Chopin u*ed to recount in his peculiar manner (ho did everything in a 'peculiar manner') that here he 'understood for the first time what sentiments the melodies and rhythms of tho National Danco were capable of expressing.' Here, too, he learned how to set high value on that noble and reserved deportment, united to vivacity of sentiment, • qui preserve la delicatesse de I'affadissement, qui emptche la prevenance de rancir—' which Dr. Liszt may translate for himself. At all events, tho Mazurka—Chopin's Mazurka—was the ofl'spring of these reunions, which at the eame time may account for the reason of

his leaving the ' belle et douce jeune fille,' who sketched his portrait, t° pine away in loneliness, while he wasted his manly vigour in the enervating saloons of enervated capitals."

And As corollary, No. 2 (the early love still figuring in the back-ground), a paragraph may be added, relating to Chopin's intimacy with the Earoness Dudevant (George Sand) :—

"A professed hater of women-authors, Chopin had a great disinclination to make the acquaintance of Mad. Georges Sand, with whom he subsequently, however, formed an intimacy which for some years wholly absorbed him. In J837, this celebrated lady accompanied Chopin to the island of Majorca, where he had been ordered by medical advice, and where he remained, tenderly nursed by the authoress of Lelie, during an alarming and protracted illness. 'The remembrance of the days passed in Majorca'—says Dr. Liszt—'was graven on the heart of Chopin like that ot a rapture, an ecstasy which fate accords but once to the moBt favoured.' 'He was not' (it is probably Mad. Sand who speaks) 'on earth, he was in an empyrean of golden clouds and perfumes; his fine and exquisite imagination seemed drowned in a monologue with God himself, and if perchance, on the radiant prism where he forgot himself, some accident caused the little magic lantern of the world to pass, he would experience most frightful uneasiness, &c., Arc' (the rest to match). However, Chopin's residence in Majorca was beneficial in every respect, and his 'admirable nurse,' Mad. Sand (' herself a great artist'), embellished every incident of his sojourn.* Under these circumstances, what chance was there (it may be asked) for the 'belle et douce jeune fille,' pining in the land of Mazurkas?"

For an account of the incidents connected with Chopin's death, and with the friends immediately about him at the time; for a description of his funeral obsequies at the Madeleine (Paris); for an elaborate analysis of Chopin's talent, as pianist and composer, including observations on his social qualities and individual character as a man, together with comparisons between him and other musicians; we must refer our readers to Mr. Davison's preface, which leaves few points of any importance undiscussed. We can only find room for a passage or two concerning Charles Filtsch, whose early demise (at the age of fourteen) deprived the musical world of an undoubted genius. Speaking of Chopin's play, Mr. Davison thus alludes to the talent of his pupil:—

"It must, however, be admitted that the pupil, Charles Filtsch (who died at the early age of fourteen), surpassed the master, inasmuch as while preserving all the ethereal grace and delicacy of Chopin's play, all its variety of tone and passionate impulsiveness, Filtsch superadded a certain vigour and unity, which endowed it with a more consistent vitality—rare (almost unprecedented) instance of a copy excelling the original, and the more wonderful considering the extreme youth »t the copyist."

Here is an instance of Filtsch's extraordinary memory :—

"Filtsch passed the season 1843 in London. How intimately he was versed in the music of his master, may be gathered from a fact which occurred under the notice of the writer. Engaged to perform Chopin's second concerto in public, tho orchestral parts not being obtainable, Filtsch, nothing dismayed, wrote out the whole of them from memory."

Mendelssohn of course knew Chopin (whom did Mendelssohn not know ?); and with a Mendelssohn paragraph we must be satisfied to close our budget:—

"Mendelssohn, in speaking of one of the Preludes of Chopin, expressed himself m terms of such unqualified admiration, as to elicit a query from an interlocutor, unable to understand the cause of the great master's enthusiasm. 'I love it,' replied Mendelssohn, with unusual warmth—' I cannot tell you how much, or why; except, perhaps, that it is something whioh I could never at all have written.' On tho other hand, questioned about the finale of one of the sonatas, Mendelssohn said, briefly and bitterly—' Oh! I abhor it'. When Chopin was first in Paris he took lessons on the pianoforte of the late Kalkbrenner,

* Chopin lived, however, to be separated from the accomplished novelist, which separation he often declared was equivalent to his death-knell.

whose reputation as a professor then stood very high. This fact, for some unfathomable reason, Heed 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 bis astonishment, on being told by Chopin himself that he had come to Paris expressly to study uuder 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.

NEW PHILHARMONIC SOCIETY. At the second concert, on Monday week, there was even a better programme than at the first:—

Past I.—Overture, "Islea of Fingal"—Mendelssohn. Aria, " O del mio dolce ardor"—Strodclln. Concerto in E flat, pianoforte—Mozart. Aria, "Pensaalla patria"—Kossini. Pastoral Symphony—Beethoven.

Part II.—Overture, "Masaniello"—Aubcr. Chorus, "Away, the morning freshly breaking"—Aubcr. Song, " The first violet"—Mendelssohn. Fantasia, violin, "Hongrois"—Ernst. Aria, " Kobert, 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. Heir 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 auother 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 instrumental pieces last Monday were from Beethoven, and the songs from Mr.W. Chappell's Popular Musicofthc Olden Time. A better programme has been seldom presented:—

Part I.—Grand Septet, in E flat major, Op. 20—Beethoven. Sonp, "Sally in our alley," 1620. Song, "Oh! the oak and the ash," 1G50. Sonata, in E major. Op. 109, for Pianoforte Solo (First time)—Beethoven.

Past II.—Romance, in G major, Op. 40. Violin Solo (First time)— Beethoven. Song, " At her cottage door," 17th Century. Song, " Kitty, dear Kitty," 1605. Grand Sonata, in A, Op. 47, for Piauolorte nnd Violin—Beethoven.—Conductor, Mr. Benedict.

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 were not long in suspense, however. The audience were enchained from the commencement, and a more genuine triumph was 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 moho Cantabile,v/as not to be mistaken. The applause at the end was genuiue, 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 playiug 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 Mr. Tennant, the gentleman singing " Sally in «ur alley," and "Kitty, dear Kitty." and Miss Rowland the other ballads. Both lady and gentleman did themselves infinite credit. These fine old specimens of English melody gave great satisfaction, and should lead to other contributions from the same source on another occasion.


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 Maccabaius, although the majority of her pieces being concerted, she had less opportunity for display than was afforded her upon that occasion. Mr. Sims Reaves again distinguished himself, particularly iu the airs, "Distressful Nature," and "Now o'er the dreary waste," both being perfect master-pieces of singing, and drawing down enthusiastic applause. Mr. 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 hoartily. In our last notice of the Sacred Harmonic Society we took occasion to observe that at the performance in question {Judas ilaccabaus), the ordinary injunction had been withdrawn. We now fiud (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." We are mnch inclined to doubt whether the Seasons can be considered as a "sacred" work at all. Generally speaking, it partakes of a pastoral character, the "sporting" element being by no means wanting. Is the air, "When sluggish Phoebus," or the chorus, "Hark the merry-toned horn" (encored by the way), or "Again the merry horn resounds, huzza," or '• Shout boys, shout," or "Pass round the wine," or the unmistakeable dance music, to be regarded as sacred? If so, Acis and Oalatea, Alexander's Feast, and The May Queen, might as well claim to be sacred. The chorus at the end of Spring, "Marvellous, Lord, are thy works;" and the final chorus, "Hosannas to Thy Name," are the only ones that can strictly pretend to anything of a sacred character; but these being exceptional and so disproportionately in the minority, cannot give colour to the entire work any more than an occasional pious explanation in a three-volume production can entitle it to be considered as a religious book.

On Wednesday next, the customary Passion Week performance of the Messiah will be given.

Mr. Aguilar's Sxcond Performance Op Classical PianoForte Music came off at his residence, Westbourne-square, on Saturday evening last. The part of the programme dedicated to the pianforte comprised Beethoven's sonata in G major, op. 29, No 1 ; Mendelssohn's " Volkslied" and Caprice in E, op. 33, No. 2 ; the same composer's Lied ohne Worte, No. 1, book 2; Weber's Rondo Brillante; variations in A, by Mozart; the Kreutzer sonata of Beethoven. The last, as may be imagined, was the feature of the evening, and Mr. Aguilar had the good fortune to find an excellent coadjutor in Mr. Henry Holmes, whose violin playing pleased immensely. Next to the incomparable sonata for pianoforte and violin, Mozart's variations appeared to afford most gratification; although every piece found its admirers, and all were masterpieces of their kind. In addition to his share in the Kreutzer sonato, Mr. Henry Holmes played the Adagio from Tartini's violin sonata, No. 2, Op. 1, and the. Oiga and AUeijro from Corelli's sonata, No. 10, op. 5. Mr. Hoi nies is a.performer of considerable merit. His play is characterisod by great purity and sound taste; his tone is full and sonorous, and his execution finished and easy. He might, certainly, have found pieces more conformable to the taste of the audience than the sonatas of the two old masters—the audience, be it remembered, consisting mostly of lady amateurs of the pianoforte; or, if he really intended to conciliate such connoisseurs of fiddle playing as might have been present, he should have given an entire sonata, not fragments of two. Mr. Holmes, nevertheless, created a great sensation, and impressed everybody with his talent. MissLindo relieved the instrumental performance with some voice pieces. These were the beautiful contralto song "Fac ut portera," from Rossini's Stabat Mater; Beethoven's "Herz, mein herz ;" and Schubert's " Nachstuck." All three were carefully and nicely sung, the last in particular engaging the attention of the company and eliciting expressions of satisfaction. The rooms were crowded. The last performance is announced to take place on Saturday, the 14th of April.

Vocal Association.—The third Subscription Concert came off on Wednesday. The programme presented many features of interest, and the choir, who hud more than their average work to accomplish, sang well from first to last. The choral performances comprised Hauptman's motet," Salvum fac regem;" Orlando Gibbons's madrigal, "The Silver Swan;" Luca Marenzio's madrigals, "Lady, see on every side," and "Fair May Queen;" Mr. Benedict's serenade "Blessed be the home" (first time); Her Otto Goldschmidt's part-song, "Come when the dawn;" the prayer from Uasaniello, " Heur holy saints;" Sir Henry Bishop's glee, "Where art thou, beam of light?" Mr Benedict's cradle song, "Sweet repose is reigning now;" . Kncken's Suabian melody "Come, Dorothy, come;" Mendelsohn^ part-song, " Remembrance;" and Franz Abt's part-song, "Gaily o'er the oceau." Mr. Benedict's cradle song, sung by twelve ladies of the Vocal Association, was encored, a compliment richly merited. M. Sainton performed two violin solos of his own composition—the Traviata fantasia and the Vahe de Concert—-in his usual brilliant manner; and Miss Eleanor Ward, a promising youug pianist, was encored in Her Kuhe'a fantasia

on "Martha." The vocal music was divided between Miss Fanny Rowland and Mad. Sainton Dolby, aud comprised, for the former lady, Mozart's aria "Or che il cielo" and Mr. Macfarren's ballad "The beating of my own heart," for the latter the air from Handel's Admetus, "Cangio d' aspetto," and Mr. Balfe's song, " The green trees whispered low." In the case of both artists, the English song was more successful than the Italian, the ballads of Messrs. Macfarren and Balfe being both redemanded and repeated. Mr, Benedict conducted with his accustomed musician-like ability.

Mr. Charles Salaman gave a concert on Thursday evening which attracted a very large audience to the Hanover-square rooms. Even the orchestra was crowded. In the plenitude of his good nature, Mr. Salaman made himself a veritable cornucopia of music, and poured out his entertainment in too liberal a stream. The programme divided into two would have been of average length, and none have felt wearied at the end. Mr. Salaman, indeed, must have fancied himself a Titan—in point of endurance, we mean—to set down for himself such a programme as the following:—

Sonata in B flat (Steibelt); air with variations in D minor (Handel) j Sonata in A minor (Philip Emanuel Bach); Romance in F (J. B. Cramer); Rondo del tempo della Giga (Salaman); Capriccio in E flat on a melody, by Cherubim (Salaman); Andante and Presto Agitato, in B minor (Mendelssohn); and with Messrs. H. Blagrove, R. Blagrove, Lidel, Ferdinand Riet ■ Quartet in E flat, op. 17, for pianoforte, violin, tenor and violoncello.

The pieces which received most applause, were Ferdinand Ries's quartet—which in addition to its being admirably executed, was attractive on its own account, the rondo especially—and Steibelt's sonata (dedicated to Madame Bonaparte), a very showy composition. Of Mr. Salaman's own pieces the Rondo pleased us most. Mad. Catharine Hayes sang Mozart's "Non tema," Mr. H. Blagrove played the violin obbligato, and an air by Galuppi, "In lasciar si caro amante; Mdlle. Parepa was encored in a song by Mr. Salaman, "Why didst thou ever leave me J" and gave also the "Laughing Song," from Manon Lescaut; Miss Stabbach introduced a new ballad by Mr. Salaman, "Good Bye! A Long Good Bye !" and joined Mr. Wilbye Cooper in Mendelssohn's duet, "Zuleika." Mr. Wilbye Cooper gave another new song from the same pen," The Modest Suitor." Herr Eibenschiitz, a bass from "Fatherland,"recommended himself in Mendelssohn's "J agdlied" (Hunter's Song), and an air by Adolphe Gollmick. Herr Molique executed a romance on the violin, the composition of M. Lafont; and Mr. Benedict accompanied all the vocal music, excepting Mr. Salaman's songs, in which the composer played the pianoforte part.

Mr. Henry Leslie's Choir.—The third concert was one of the best ever given by the choir. The programme (the first part of which was unusually interesting) is worth citing :—

Part I.—The Forty-third Psalm, "Judge me, O Lord." For an Eight-Part Choir. No. 2, Op. 78—Mendelssohn. Motet for Quartet and Chorus, "Source of all light"—Hauptmann. Sonata for Pianoforte.'inD minor, No. 2, Op. 29—Beethoven. Motet, "Pater noster" —Meyerbeer.

Paut II.—Madrigal, "Sweet flowers"—T. A. Walmialey. Vocal Duet, "When birds are singing"—Henry Smart. Part-Soug, "Welcome, Spring"—Henry Leslie. Air, "0 Nanny, wilt thou gang with me ?" —harmonised by Harrison. Part-Song, "Home"—Benedict. Countryman's Song—Dr. Rimbault. Fantasia, Pianoforte, on Aira from "Maritana"—W. V. Wallace. Part-Song for Male Voices— J. L. Hatton. Madrigal, "In the merry spring"—Ravenscroft. PartSong, "Oh! who will o'er the downs"—R. L. Pearsall. ConductorMr. Henry Leslie^

Hauptmann's "motet"—clever and well written as it is—was placed at great disadvantage in coming immediately after Mendelssohn's Psalm, an incomparable masterpiece, and executed in the most finished style imaginable. Meyerbeer's impressive setting of the Lord's Prayer, a sacred composition in the strictest application of the term, was not so well sung, the voices dropping more than a tone before the conclusion,and the intouatiou not being always perfect. It was, nevertheless, encored with acclamations. The part-song from Mr. Henry Leslie's Romance, one of the most popular things the composer has written, was also redemanded and repeated. In Hauptmann's j 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 tilled.

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. I Sainton was loudly applauded in both his performances, chiefly in his Lucrezia Borgia. There was a good attendance.

At the concert, last Saturday, Mr.Augustus Manns, not satisfied, let ua 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 pro

Srarnme its repetition as by "special desire." This, no oubt, 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 TJuion. The lady gave Mozart's "Non temer" (violin obUigalo, 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 m the musical worldi His first appearance iu public, we believe, was in 1856, 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 Piices, Handel; Fantasia and Fugue, Mozart; Andante and Rondo Vappriccioso, Mendelssohn; Sonata, No. 2 (dedicated to Haydn), Beethoven; Chopin's Seconde Ballade; Herz's Fantasia on the March from OteUo, and, with Mr. Henry Blagrove, and Mr. Aylward, Haydn's trio (No. 1), in E flat, lor pianoforte, violiu, 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 wera 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 aud tuition of so accomplished a master as Mr. Holmes. The programme was varied by songs, and a aolo on the concertina by Mr. Richard Blagrove. Miss

Fanny Rowland gave Macfarreu's 8 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.



Sir,—We have too many choral eocieties 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.

Mere again, what are the solo vocalists about? Why don't they let others choose lor them? Madame Sainton-Dolby generally knows what she is about. On Wednesday night she sang two of the best known pieces in her extensive repertoire —" Cangio d' aspetto" (Admetus), Handel ; and "The green trees," by Balfe. Miss Fanny Rowland, on the contrary, was unwise in selecting " Or che in cielo" of Mozart. It it too thin for her style of vocalisation, which inclines to the robust. M. Sainton played "Fantasia on La Tratiala," and- a Vulse de Concert, both from his own pen. Miss Eleanor Ward, a young lady of 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 Maria by Herr Wilhelru Kiihe. 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 Kiihe, is as unsatisfactory an achievement as the latter * worst enemies, if he have any, could desire.

I remain. Sir, jours, Ao.,


Leicester.—Messrs. Henry and Alfred Nicholson gave a performance of Mendelssohn's Elijah, at their anuual concert, on Monday, 26th iust. The principal vocalists wero Madame Weiss, Miss Palmer, Mr. Sims Reeves, and Mr. Weiss. The secondary

Earts in the quartets and terzetta, &c, being filled up by Misses leacon, C. Weston, and Groscock, Messrs. f>ansonie, 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 •"oncert Society, when the following were the performers :—Miss CluiKe, Miss Watson (both dibutantesw Leeds), Mr. Iukersnll an I Mr. Henry Phillips. The programme was made up of old Euglish 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 followiug resolution is to be proposed :—"That the lowu Hall Committee be authorised to make arrangements for the election of an organist, at the salary of £200 per annum."

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