in Clichy, on a bill of exchange given to Mr. Patey Chappell, and paid in to the account of Mr. John tie Lapierre, both Englishmen. These gentlemen took proceedings against Jullien as a foreigner, on the pleathat he « as a naturalised Englishman. |He was consequently treated as a foreigner, rendered incapable of being declared a bankrupt, and imprisoned at Clichy. Fire months afterwards, on his appealing against the first decision, the Court, enlightened by the proofs he had procured from LondoD, decided that Jullien was a Frenchman, that he was not a naturalised British subject, and that he had simply obtained the authorisation to take up his residence in London, an authorisation which conferred on him, in London, the same commercial privileges M a native, but in no way affected the fact of his being a French subject. In consequence of this decision, he declared himself a bankrupt, and was released from Clichy.

But the mischief was done. He had been deeply affected by his arrest, and his mental faculties were seriously shaken. On several occasions, his friends fancied they observed in him fits—although passing ones—of insanity. These fits consisted of sudden overflows of high spirits, followed by prostration and dojection without any wue. In his attacks of melancholy, he used to speak of his death as very near. One day, he returned home armed with a large knife. He found there his niece, a young lady of fifteen, whom ho had adopted, a pupil of Duprez, and who bids fair to turn out a great singer.

"Come here," he said to her. "I am going to let you hear the most marvellous of all music; the grand concert of the augels; I am going to kill you."

With these words he was about to carry out his threat, when the young lady, with rare presence of mind, observed:

"With all my heart! only, before sending me to Heaven, just play me an air once more on your piccolo, so that I may compare your music with that of the angels."

The idea struck him as admirable. He kissed his niece, and went to get his instrument. Meanwhile, the young lady made her escape, and the poor madman, having been secured, was taken to a maison de tanle at Neuilly, where he died a few days afterwards.

It was Jullien's wish to devote himself to serious music, as the programme of his monster festival proves. He feared nothing so much aa to be considered merely a conductor of public balls, or a composer of polkas.

Mad. Jullien and his adopted daughter survive him. He has left them nothing. It has been proposed that a grand concert, at which all artists of eminence would gladly lend their assistance, should be got up for the benefit of these two interesting objects of sympathy.

Paul D'ivoi.

(From Our Own Correspondent.)

Paris, March 28th. Notwithstanding the late gales, the rain and the cold, the theatres have been as full as ever—fuller, indeed, so that the old proverb, "it is an ill wind that blows nobody good," has been verified, for it would seem as if the public would willingly forget the inclemency out of doors in the ideal regions of Thalia and Melpomene. The Grand-Opera continues to be one of the greatest points of attraction, and the success of Pierre de Medicis La Pierre de Midicis, as some of its now-admircrs call it—has ne on increasing. M. Bonnehee, who filled the part of Julien Medicis, is about to take a holiday of two months duration, on account of the state of his voice, and will be succeeded by M. Dumestre. The Semiramis, of Rossini, is to be given in September, not in June, as was first said. The two sisters Marchisio will make their debut in this opera, and M. Obin, I believe, will play the part of Assur. Next year the Tannliauser of Richard Wagner will be given. As Richard Wagner is the musician of the "future," it is not to be wondered at that this opera is spoken of so long ere it will be given. The Galathe'e, of Victor Masse, still keeps good her ground at the OperaComique, and though the part of Pygmalion seems to me utterly onsuited to the voice of Mdlle. Wertheimber, Mad. Cabel is such a favourite that the little opera always goes off triumphantly, with a never-failing encore for Mad. Cabel in the drinking song, "Verse encore ce vin g6nereux." Before M. and Mad. Faure leave the Op6ra-Comique, M. Faure-Lefe'vre is to play the principal part (Rita) in an unedited work of Rossini's, the libretto of which is written by M, Gustave Vagsy. Afterwards

M. Faure is engaged to sing at Covent Garden with Madame Miolan-Carvalho in the Pardon de Ploermel. Madame Faure, they say, is going to St. Petersburgh; meanwhile several revivals are projected at this Opera, amongst others, Le Jugement de Midas, by Gretry, and Masaniello of Carafa. At the TheatreLyrique, Madame Carvalho, who was most warmly received on her re-appearance in Philtmon et Baucis, will enjoy a little rest if they bring out, as they talk of doing, the Fidelio of Beethoven, Mad, Viardot performing the principal part. The Crociato, of Meyerbeer, was given last night at the Opera, but I must give an account of it next week.

M. Octave Feuillet's last work, if it has not created any wonderful sensation, has by no means detracted from the wellearned honours of the writer. Lafont surpassed himself in his part, and greatly contributed to the success of the piece. The piece is somewhat in M. Feuillet's usual style, and paints, with that delicate touch which he knows so well how to employ, some of the clouds of married life, ending, of course, in the happy reunion of husband and wife. Amongst the beau monde which the opening night drew to the theatre, were the Emperor and Empress, who warmly applauded one of the favourite writers of the day. At the Bouffes-Parisiens, last night, a new operetta, called Daphnis et Chloe, was brought out with much success. And the Gymnase has also given lately a vaudeville in two acts, called the Paratonnerre.

When I think of all the concerts given lately, I hold my pen poised in the air with despair—where and with whom to begin, and where shall I end or what select. So that to mention two or three is all one can do: I will begin with the one given at the Tuilleries. The first of these concerts d'artistes was composed of the artists from the Opera-Comique, the second of those from the Italian Opera, and the third of the artists of the Grand-Opera; the selections of pieces were from Pierre de Medicis, OutUaume Tell, Les Huguenots, VSpres, Trouvbre, and Herculanum; the pianist was M. Hans Bulow, and Francbomme, on the violoncello, was clever as he always is. Meanwhile the Emperor's private concerts go on wonderfully, nnd some two or three "bright particular stars" attract considerable admiration and attention. Haydn's Seasons was the principal performance in the programme of the concert given on Sunday by the Conservatoire. The performance, both instrumental and vocal, was in every way worthy the work, though Roger, who had come from Belgium expressly to sing at it, was already beginning to feel the effects of the influenza, that has since prevented his singing at a concert at Amiens, which has been put off in consequence. At Brussels, Roger was received in the warmest manner; and one representation, got up entirely in honour of him, brought in a sum of 6,000 frs.

The second concert for the performance of modern music for piano and voice was given last Wednesday, in the Salle Beethoven. The rooms were crowded. The programme was exclusively (as regards instrumental music) reserved to the modern classical style—that is to say, modern music written in the style of the ancient masters. Fifteen pieces on the piano were given, and the three last, performed by M. Louis Drcnier, were as warmly applauded as if the young virtuoso had given them at the commencement of the evening. M. Padilke, in the andante of the fourth concerto of Herz, and Fissot, in the priire of Stephen Heller, deserve especial mention, also the vocal part of the programme was ably interpreted by Mdlle. Remaury, M. Richer Cremont, and M. Bieval. Mdlle. Pleyelgave her second concert on Monday, and her playing of the Serenade of Mendelssohn, the Fleuve of Litolff, the Truite of Stephen Heller, and the Etudes of Jules Cohen, was admirable. Tagliofico's singing and Sigbicelli on the violoncello completed the programme.

The decree which augments the "rights of authors," for the Academie Imperiale de l'Opera, is to appear, so they say here, in the Moniteur, in a day or two. This decree would maintain for all the representations of a work the rights limited at present to forty performances. After that number, the remuneration was lowered by two-fifths: thus the right fixed at 500 frs. for a grand opera, was reduced, after these forty representations, to 300 frs.

The Monittur announces the little theatre of the BouffesFarisiens (Champs Elysees) is to be pulled down, and to be reconstructed on a new plan more appropriate to the comfort of the publio and the embellishment of the Champs Elys6es.

Last week a sale took place of which I must not forget to tell yon. It was the valuable collection of the late Mr. Pierard of Valencienes, and took place in the Salle Drouet. It is a long time since amateurs have been at such a fite, and there are few such collections perhaps in France. During twenty-five years M. Pierard bad dedicated a part of his income to the acquisition of the gems of art, and the price his pictures fetched is very great evenin France, the sale itself fetched400,000 frs. Amongst the pictures the "Portrait of Gerard Dow," painted by himself, sold for 37,000 frs.; "La Kermeuse," by D. Teniers, 22,000 frs.; "Le halte des Cavaliers," by Ph. Wouverman, 25,700 frs., and nine other pictures by Vandevelde, Rubens, Ruysdael, Van Ostade, Huysum, Hobbema, Vander Neer, fetched equally high prices. A few days before there had beeu a sale of the articles de virtii of M. Norry, which were also very remarkable. The Emperor bought some very splendid things, amongst others two Bacchantes by Clodion, for which latter he gave 12,600 frs. The Empress also bought some things there. There was, amongst other things, a head of Oreuze, that sold for 35,000 frs.

M. Gudin has painted two very remarkable naval pictures for the Emperor, they are executed in a most masterly manner. The Emperor, on visiting the studio to see them, expressed a wish to have another, the subject of which should be the landing of the troops at Genoa.

Amongst other improvements that have taken place here, the Ecole de Beaux Arts has been enlarged and extends now as far as the Quai Malaquais, before the spot occupied erewhile by the hotel Juique; Mr. Duhau, the architect to whom Paris owes the restoration of the Portique cfAnet and Galerie d'ApoUon, drew the plans, and this new building is rising with that fairylike rapidity one only sees in Paris. This new part is especially destined to the Concours de l'Ecole, and the exposition of works of art sent from Borne. The first saloon on the rez de chaussie is for the works of sculpture of the pupils of the Villa Medicis; the other saloon on the premier is for the works of painters, engravers, and architects.

The steeple-chase at la Marche, which took place on Sunday, was a very gay affair, and "no end" of brilliant toilettes and gay carriages to enliven the scene. The only tragedian of the day (with exception of Mrs. Kean), Madame Bistori, is now at Brussels, and began her performances, in the Theatre des Galeries, by Phe'dre. The death of poor Jullien has caused, of course, much sensation here, and his brain-fever is attributed to the immense and unceasing efforts he made to bring out the "monster concerts."


(From the Niederrheinische Musik-Zeitung.)
(Continued from page 108.)

Section nineteen gives an account of the arrangements undertaken by Mozart, at Van Swieteu's suggestion, of some of Handel's oratorios. These are Acit and Galatea, the Mestiah— which was the one in which he allowed himself the greatest freedom—the Ode on St- Cecilia's Day, and Alexander's Feast. It was Joseph Starzer, and not Mozart, who arranged Judas Maccabceus.

At the conclnsion of this section, we find the following exceedingly seasonable words concerning a certain fashionable partiality for old music (p. 466):—

"We must not leave out of consideration the fact that the historical feeling which would ate a work of art appreciated, and rendered only in the form the master gavo it, was wanting to that period. By far the greater number of compositions owed their origin and definite shape to accidental circumstances, which even the greatest masters acknowledged as determining conditions; while they endeavoured to satisfy the present, they created for the future. Hence, they used,

with the utmost freedom, their previous labours, either wholly or partially, for new tasks, borrowing and employing whatever struck them as serviceable, and, at successive performances, adapting their work, by additions, omissions, and alterations, to the circumstances of eaoh ocoosion. It was an easy thing to extend this freedom to the productions of foreign masters, especially of former times, and composers considered themselves justified in presenting them to the publio dressed up in the mode in which the latter could most easily and most conveniently enjoy them. If we only call to mind what was thought allowable, at that period, in this particular,* we shall respect the artistic fcelifjg with which Mozart performed his task.+ The philoogically historical way of looking at things whioh Bo pervades the civilisation of our times, that we view our literature and art most essentially in this light, requires the enjoyment of a work of art to ba founded on historical knowledge and appreciation, and the work of art itself to be presented exactly as the artist created it. That, in the reproduction of musical works of art, this condition, though right in principle, undergoes many restrictions practically necessary, is as equally certain as that it is doubtful how far the great public, who must conform to the demands of the educated, are capable of this kind of enjoyment; at any rate, it is much to be desired that the learned should not set the example.

Section 20 treats of Mozart's professional visit to Berlin; section 21, of the opera, Cosi fan Tutte; Section 22, of a professional journey to Frankfort-on-the-Maine, and the coronation opera, La Clemenza di Tito; and Section 23, of Die Zauberfiiite.

Concerning Cosi fan Tutte, the author remarks that the defects of the libretto (by De Ponte), would not allow the musical portion of the work to be fully developed, and that the opera, from many influences Mozart was unable to avoid, approaches more nearly than any of the others to the last operas of Italian masters. But, even though this be the case, it never belies the peculiar traits of Mozart's nature, and especially onr wonder is excited by

"The rich inventive faculty of the master, who, with an easy hand, strewed about a host of charming and attractive melodies more abundantly than almost anywhere else; melodies which always delighted the ear without becoming flat and insignificant. Not less wonderful, and, in many respects, even more palpable than elsewhere, does his technical mastery here appear to ns. The plan of the several pieces, the connection of the different parts, the grouping of the voices in the concerted pieces, so that the requirements of the dramatic situation and those of the musical form are simultaneously satisfied, are so well defined and transparently clear, with the greatest richness of treatment, that we easily follow even tho most complicated movements. Immediately connected with all this are the wonderful freedom and flexibility of the vocal parts, when the composer would combine different characteristic melodies, and the playful dexterity in the application of contrapuntal forms, which excite the interest of the hearer, and keep it actively employed, without his feeling any exertion. But we are more especially astonished in this opera by the delicate feeling for harmony, and the certainty with which the latter is, under all circumstances, achieved. Although this dexterity and skill cannot be separated from the inventive faculty and the talent for organisation, they are not always found co-operating to such a degree; here more especially we perceive exhibited in a most uncommon manner the power of actively employing in unclouded harmony all those oomponent elements which must co-operate in order that full justice may be done to the material expression of musical beauty. This is plainly manifested in the management of the orchestra. Although the latter is not treated with the same delicacy of details as in Figaro, and Don Giovanni, bat lightly, simply, and so as to allow full scope to the vocal parts, it is, in another point of view, fuller and more brilliant, and especially richer in certain particular instrumental effects. The wind instruments are brought more forward, in richer and particularly more varied combination, and with a more delicate distinction of light and shade in the various kinds of sound. It is interesting to perceive how much more

• Thus Hiller has not only scored Pergolese's Stabal Mater, bat also partially arranged it for a chorus of four voices, while J. A. Schulze has turned six instrumental adagios, by J. Haydn, into a cantata, Der Versdhnungstod, for chorus and orchestra. And what has not been made out of Mozart's sacred music! (I. pp. 688, et seq.y

t Gerber proposed, quite seriously to produce the choruses of the Messiah, according to Mozart's arrangement, but with all the airs composed afresh by well tried composers. (A. M. Z., pp. 882, etseq.)

the clarinets are brought into the foreground, and what a characteristic difference U established, according as it is the clarinets or the oboes, which are, for oharacter of the sound, subjected to various gradations by its mixture with the other wind instruments. The trumpets, too, are employed in a peculiar manner; they are not seldom used without kettle-drums, and like trumpets, in the ordinary sense of the word, but instead of the horns (and not combined with them), mostly in the lower passages, for the purpose of imparting to the tone a peculiav strength, freshness, and brilliancy. Such remarks might be pursued still further, in order to prove clearly, in each separate instance, with what delicate feeling, and correct calculation, the orchestral resources, as well as all the rest, are employed to effect the most charming harmony.

"Although it is not to be denied that the opera Cosifan Tutte, regarded as a whole, and with especial reference to depth, significance, and detail of character, does not equal Figaro and Don Giovanni, it mast, at the same time be acknowledged, that separate pieces, and especially the far greater majority of the principal parts, manifest all Mozart's genius, and all his mastery; that peculiarities of his artistic nature, which in other operas, either do not appear at all, or less prominently, are manifested in the most brilliant fashion; and that, in many directions, wo have gained an advance, au extension of the realms ofart."^

We are presented with an interesting account (Supplement XXV.) how a mass in C major, which was in the collection of C. Zulhener, of Mayence, and uinrkeH under Mozart's name as the Coronation Mast, agrees in all its movements, with the exception of the "Credo." with whole movements or smaller pieces from Cosifan Tutte, save that the key and instrumentation are changed, and a part sometimes added or omitted (pp. 767— 769). The " Dona Nobis," lor instance, is nearly the same as the final concerted piece of the opera.

Zulehner was of opinion that the mass was written by Mozart previously to the opera, and plundered for the benefit of the latter. Frotn such twaddle as this, thinks Jahn, may have arisen censure like Thibaut's (Rcinheit der Tonkunst, p. 11). That the mass was patched up from the opera by some hou-gling'church musician, Jahn concludes from the passages not borrowed from the opera, and from the way in which the borrowed material is employed ; and all musicians to whom he has shown the mass agree with him. He states, also, that old musicians have informed him that, in their youth, perfectly similar masses were common, from Figaro and Don Giovanni. To this we add, that such cases still occur, now-a-days, in the French provinces; from Meyerbeer's operas, not only is the march from the Propkite (together with scenes from Bellini's Norma) quite an ordinary thing on the organ—we actually heard it in a Parisian church—but also, the conjuration o_f the nuns from Robert le Diable, with a sacred Latin text 1 Military bands, too, with and without the obUigato serpent, which frequently alone represents both organ and orchestra in country churches, perform the most frivolous operatic pieces in the midst of the service.

In the spring of 1791, Emanuel Schikaneder applied to Mozart, whom he besought to save him, by the composition of a magic opera, from the desperate state into which his unfortunate theatrical speculation and his own giddiness had plunged him. He brought Mozart the book of Die Zauberfiote, which, however, only gradually assumed its present shape. In July, Mozart was able to enter the opera in his list as finished (that is to say, in all the essential points, though the scoring was not completed).

(To he continued.)


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SEASON 186 0.

THE Lessee and Dibkotob, having completed arrangements which enable him to make the announcement under peculiarly favourable circumstances, ha* the gratification to acquaint the nobility, gentry, and the public, that HER MAJESTY'S THEATRE will OPEN for the SEASON on Tuesday, the 10th of April next. Her Majesty's Theatre for more than a century has been recognized as the first Lyric Theatre in Europe. With this magnificent establishment are intimately associated all the splendour and prestige of Italian Opera; to it also belong the most brilliant reminiscences of the Ballet. The history of Her Majesty's Theatre is identified with the progress of music in this country, and its name made memorable by the special patronago of Royalty. Its spacious and noble area, its peculiarity of construction— which renders it the finest theatre in the world for sound—its perfect suitableness for the purposes of musio, and, more than all, its locality in the most, fashionable and easily-accessiblo part of the metropolis, point to it as the temple of high-art entertainment best adapte dto the taste and accommodation of the Court and the aristocracy. In short, no other opera-house in existence can boast of equal advantages in point of convenience of site, commodiousness of construction, and elegance of appearance. Considerable changes and improvements have been made in order to conduce to the comfort and satisfaction of the subscribers and the public. The theatre has undergone a thorough renovation in the interior and exterior, and several alterations have been effected throughout the building, which the Director thought were imperatively called for, and which he feels satisfied will meet with universal approbation. The crush room and entrances have been rendered commodious and elegant, a perfect system of ventilation has been adopted, and every care taken to ensure the accommodation of the audience. The Lessee is deeply impressed with the responsibilities of his new undertaking. He feels that he has made himself answerable to all his patrons for the production of every work at Her Majesty's Theatre in a style of completeness and excellence worthyof their support. As an assurance that due exertion will not be wanting to arrive at this result, he may refer to the accompanying list of artistes and arrangements for the forthcoming season :—

Engagements—Mdlle. Piecolomini (her farewell nights previous to her final retirement from the stage), Mdlle. Vaneri, Madame Laura Baxter, Mdlle. Maria Brunetti (from the Grand Opera Paris, her first appearance in this country), and Madame Alboni; Mdlle. Lotti della Santa (her first appearance at Her Majesty's Theatre), Mdlle. Dell'Anese, Mdlle. Nardi, and Madame Maria Cabel (Prima Donna of the Opera Comique, Paris,) Madame Borghi Mamo (her first appearance in this country,) and Mdlle, Titiens, Signor Mongini, Signor Belart, Signor Corsi, Signor Mercuriali, Signor Soldi, Signor Giuglini, Signor Everardi (of the Imperial Italian Operas of Vienna and St. Petersburgh, his first appearance in this country), Signor Aldighieri, Signor Fellar, (his first appearance,) and Signor Sebastiano Ronconi, (of the Regio, Turin, La Pergola, Florence, &c.,) Signor Gossier, Signor Castelli, and 8ignor Violetti, Directors of the music, Composers and Conductors—Mr. Benedict and Signor Arditi. Principal Violins—Herr Molique, and Mr. Henry Blagrove. Leader of the Ballet—Signor Bollilli (Musical Director for the Theatro Bologna.) The Military Band of the Grenadier Guards, under the direction of Mr. D. Godfrey. Suggestiore—Signor Fontana. Regisseur —Signor Grua. The carefully selected and highly trained Chorus under the direction of Signor Vaschetti. The Corps de Ballet will include several additions from the continental theatres, under the direction of M. Petit. The engagements for the Ballet comprise: Mdlle. Salvioni, (of the San Carlos, Naples, her first appearance,) Mdlle. Morlacchi, Mdlle. Pocchini, Mdlle. Clavelle, Mdlle. Moneelet, Mdlle. Claudini Cucchi, (of the Imperial Opera, Vienna, her first appearance), Mdlle. Bioletti, Mdlle. Loquine, Mdlle. Ferraris, M. Merante, (of the Grand Opera, Paris, (his first appearance,) Signor Carlori, (of the Imperial

Opera, Vienna, his first appearance,) and M. Durand. Maitre e compositeur de Ballet—Signor Borri (of the principal Theatre in Italy.)

With a repertoire Bo extensive and attractive as that of Her Majesty's Theatre, an assemblage of talent so remarkable, and with so magnificent a theatre, in every way peculiarly adapted to the various performances, theDirector confidently looks to the nobility and the public for support. To fulfil the conditions entailed, in carrying on so vast an establishment, requires more than common energies and common resources; and it it only by liberal assistance from the patrons of art, among the aristocracy and the publio that any good result can follow; while no labour, effort, or expense will be spared to render the performances of the highest excellence. It is further the intention of the management to produce during the season the following:—Weber's grand romantio opera of Oberon, which has been for a long time in active preparation, and will be produced on a scale and wicn a completeness worthy of this great work. The minor as well as the principal parts will be effectively filled. The scenery and dresses are being prepared with great care, and will present features of special interest. The whole will be produced under the immediate superintendence of J. R. Planche", Esq., Author of the Libretto, by whom several changes and modifications have been made, while the whole of the original music has been carefully preserved. The recitatives expressly arranged by M. Benedict, pupil of the composer of this great work. Beethoven's Fidelio, Leonora, Mdlle.Titiens. Anew and original opera by Maestro Campana, in which Mdlle. Piecolomini will appear. Rossini's opera of Otello.—In consequence of the enthusiastic reception accorded to Mme. Borghi Mamo, at the Italian Opera in Paris, the above opera will be produced early in the season, with the following cast:—Otello, Signor Mongini j Rodrigo, Signor CorsOj Elmiro, Signor Vialetti; Iago, Signor Everardi; Desdemona, Mme. Borghi Mamo. And about the middle of May, Rossini's Semiramide, with the followin g powerful cast :—Semiramide, Mdlle. Titiens (her first appearance in that character); Arsace, Madame Alboni (her first appearance this season; Idreno, Signor Belart; Oreo, Signor Vialetti; and Assur, Signor Everardi. Mozart's Le Nozze di Figaro, with an unprecedented cast. Also Weber's opera of Der Frieschiitz, in which Signor Mongini and Mdlle. Titiens will sustain the principal characters. Mdlle. Brunetti will arrive at the end of April, and mako her first appearance at the early part of May, in Verdi's opera of Rigoletto. Madame Alboni will make her first appearance about the middle of May, as Arsace in Semiramide. Mdlle. Titiens will appear on the opening night Tuesday, April 10, in conjunction with Signor Giuglini. Madame Borghi Mamo will make her first appearance in this country on Thursday, April 12, as Leonora, in La Favorite. Madame Marie Cabel (from the Imperial Opera Comique. Pari*,) will appear during the season in several of her favourite characters. On the opening night also will be performed the ballet of Fleur des Champs, in which Mdlle. Pocchini will appear. The general favourite, Mdlle. Ferraris, will appear in Mazalier's highly successful ballet of Orfa (first time in this country). Mdlle. Claudina Cucchi will make her debut in a new ballet. The Benson will commence on Tuesday, April 10, when will be performed (for the first time at this theatre) Flotow's admired opera of Martha. Lioncllo, Signor Giuglini (his first appearance this season); Plumkctt, Signor Vialetti; Lord Tristauo, Signor Sebastian Ronconi j Nancy, Mdlle. Vaneri; Lady Henrietta, Mdlle. Titiens (her first appearance this season). On Thursday, April 12th, La Favorita. Fernando, Signor Guiglini; Alfonso, Signor Everardo (his first appearance); Baldassare, Signor Vialetti; Leonora, Mdlle. Borghi Mamo (her first appearance). On Saturday, 14th April, will be performed Verdi's opera of II Trovatore, Manrico, Signor Giuglini; Ferraudo, Signor Vialetti; Comte di Luna, Signor Aldighieri; Azucena, Madame Borghi Mamo; Leonora, Mdlle. Titiens. The Box-office of the Theatre is open daily for subscribers from 10 to 5, under the direction of Mr. Nugent.

Published by Johb Boosey, ol Castlebar-hill, In the pariah ol Ealing, in the County of Middlesex, atS8, Hollos-street. Printed by WiixiAM SrsNoia Johnsom, "Nassau Steam Press," TO, St. Martln's-lane. in the Pariah of 8t. Martin-in-the-Fields, in the County of Middlesex

Suturday, March 81,1860. *

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VOL. 38.—No. 14.


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And Several other Distinguished Freemason!; Hie Excellency the Lord Lieutenant of Ireland, the EARL of EGLINTON and WINTON, The LORD BISHOP OF MANCHK8TER, The Right Worshipful the MAYOR OF MANCHESTER, IVIE MACK1E. Esq. Hie Worahlp the Mayor of Salford, W. HARVEY, Esq. SIR FREDERICK GORE OUSELEY, Bart., Director of Music at the University of Oxford. And many of the Nobility, Gentry, Clergy, and distinguished Families of the Empire



Organised Is 1848, and developed at THE ROYAL COLLEGE OF MUSIC BRIDGE STREET, MANCHESTER, established by him expressly as a Great Natioual Institution to facilitate the Encouragement and Promotion of NATIVE MUSICAL TALENT, and the GENERAL ADVANCEMENT OF MUSIC AMONG THE RISING GENERATION, upon his new and effective system, also as a Normal School for the training of masters to conduct Conservatoires or Music to be established throughout the United Kingdom, for Little Children, the whole comprising an entirely new scheme of NATIONAL EDUCATION, by blending music with general instruction, so that the study of muAic shall become a branch of education In the humblest of schools of this sountry. 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 thebpnntry—giving lectures, and introducing his highly approved and pleasing Muigal 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 LITTLE ENGLISH, IRISH, 8COTCH AND WELCH BOYS. FROM FIVE TO SIXTEEN YEARS OF AGE, who play Operatic Selections, Solos, Marches, Quadrilles, Galops. &c, and sing bongs and Choruses in a most effective manner, and to whom Dr. Mark givea a gratuitous General and Musical Education. APPOINTMENTS OF MASTERS AND ARRANGEMENTS OF CLASSES IN THE ABOVE INSTITUTION. Principal of the Royal College of Music; Director, Composer, and }

Conductor; Lecturer to both Private and Public, Theoretical > Dr. Mark.

azid Practical Instrumental and Vocal Classes )

Master of the General Educational Department: \ pOWEI*

Writing, Reading, Arithmetic, Grammar, Dictation, I anaTwo

History,Geography, Practical Geooietry.and Book- j Afl8istant Teachers.

keeping .. J


Organ Mr. Barer.

Pianoforte .. ., (Herr Simmers.

Mr Elder.

TM» Sfsjsr*

Violoncello. Double Bass, and Viol. {m^t. Don"tm!3'

, Piccolo, Oboe, and Clarionet Slg. Cortesi.

t and other Brass Instruments Mr. H. Russell.

d English) Mr.

; has also made provision for the Orphans of the Musical Profession j musical talent, who will find the above Institution a happy home, and receive a most effective general and musical education,, board, and clothing, free of all expense.

little Boys, from five to nine years of age, apprenticed for three, five, or seven i by paying a moderate entrance fee to cover the expenses of instrument and

Twelve appointments ready for Masters.
^Prospectuses, apply direct to the Royal College of Music, Bridge-street,

t is also open to Engagements with his Little Men. Dr. MARK begs to invite the Parents and Friends, and all those interested in his Enterprise and in the Education of the Youtha of this country to visit his establishment. Visiting hours:—From Nine to Eleven, a.m., and Two and Four, p.m. Saturdays and Sundays excepted.

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QUARTET, two Violins, Viols, End Violoncello .. .. Alfred Mellon.
M. Sainton. II rr Ries, Mr. Doyle, and Signor Piatti.

SONG, ' Sad was the hour," Henry Smart.

Mr. Sims Reeves.

SONG, "The Dew-drop and the Roe,e" G. A. Osborne,

Miss Eyles.

80NG, "Rough wind that meanest loud," ., .. J. W. Davison.

Mr. Santley.
MADRIGAL, "Maidens never go a wooing,"

(Charles II.) Macfarren.

SONG, "I wandered by my dear one's door each night." J. L. Hatton.

Mr. Sims Reeves.
SKETCHES. "Tbe Lake, Millstream, and Fountain,"

Pianoforte, > .. ,. 8. Bennett,

Mr. Lindsay Sloper.

SONATA, Violin and Pianoforte Pinto.

Mr. Lindsay Sloper and M. Sainton.

GLEE, "By Cells'. Arbour" Horsley.

Loudon Glee and Madrigal Union.
SONG, "Lovely maiden, keep thy heart ior me" ..* M. W. Balfe.
Mr. Sims Reeves.

SONG. "The Bell-Rluger" Wallace.

Mr. Santley.

SONG, "Near Woodstock Town" (Old English Ditty) .. W. Chappell.
Mis. Eyles.

GLEE, "Blow, gentle gales"

London Glee and Madrigal Union.

TRIO, Pianoforte. Violin, an 1 Violoncello'

Mr. Lindsay Sloper, M. Sainton, and Signor Piatti.


Sofa Stalls. 5a. ; Balcony, 3s. ; Unreserved Seats, 1..—Ticket, to be had of Mr. Austin, at the Hall, 28, Piccadilly; Messrs. Cramer and Co., Hammond, Addison, and Co. Schott and Co., Ewer and Co., Simpson, Carter, and Oetzmauu and Co., Regen:-street; Brooks, 24, Oid Cavendish-street; Bradberry's London Crystal Palace, Oxford-street, DuffandCo., 66, Oxlord-str. t; Prowse, Hanway-street; Wylde, Great Hall, Hungerford Market; Chidloy, 19S, High Holbom ; Purday, 60, St, Paul'. Church-yard; Keith, Prowse, and Co., 48. Cheapside; Turner, 19, Coruhill; Cook and Co., 8, Flnsbury-place, south; Humfress, 4, Old Church, street, Puddington-green; Mitchell, Leader and Co., Olltvier, Campbell, and Willis, Bond-street; and Chappell and Co., 60, New Bond-street.

HANOYER-SQUARE ROOM?.—MR. MELCHIOR WINTER(ten. a X and Mr. BENJAMIN WKLLS(flautist), beg to aim-.ui c .• that their GRAND VOCAL AND INSTRUMENTAL CONCERT, will Uk* |>L*c« at the above rooms on the 28th of May, (Whit Monday.) Full particular* will shortly be published.—17, Bt. James's-square, Notting-hill, W.

AJflBR LAURA BAXTER has the honour to announce

XYX that her Grand Vocal and Instrumental Concert will take place, at St. James's Hall, on tbe 15th of May. Under the immediate patronage of The Marquis of Lansdowne, The Right Honorable The Earl Mount Edgcumbe, The Countess Mount Edgcumbe, The Lady Brownlow, Viscount Valletort, M.P., The Lady Katherlne Valletort, Ac. Communications respecting trio Concert, Lessons, &c., to be addressed to Miss Laura Baxter's residence, 155, Albany-street, Regent's Park, N.W.

MR. F. SCOTSON CLARK is in town for the season.— Letters respecting lessons or engagements for the pianoforte or harmonium to be addressed to him, care of Messrs. Chappell and Co., 50, New Bond-street.

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