THE LONDON CONCERT SEASON—Mr. 0. M. SHKR respectfully informs Musical Professors that he continues to undertake

tbe arrangement of Concerts, Soirees, Matinees, as well as Programmes and Books of Words, at very moderate charges. Address, 106, Wardour-ttreet, Oxford-street.

[ocr errors]


will take place at 17, Westbourne-square, W., on Saturday, April 14. at Half-past Bight, when he will be assisted by Miss Lindo, Hsrr EibenschuU, Heir Jansa, and Horr Lidel.— Programme.—Sonata (Op. !. No. 5), piano and TioliD, Mozart; 8>ug, Mendelssohn; Sonata, In B flat, (Op. 82), Beethoven; Song, Schubert; Trio in C minor, Mendelssohn; Vocal Duets, Figaro, Mozart; Polacea brillante, Weber. Tickets, os.; Triple admission, 10a. 8d.


It J. y yd.lei' on Hall, Islington, on the 17th Instant; Chatham, 23rd; Hanoversquaxe Rooms, 26th; Romford, May 3rd; Hanover-square Rooms, 26th. Address, 17, St. Jsjnas's-aquare, Nottiruj-hlfl, \v.

MR. BEZETH, iu answer to many inquiries, begs to announce, that he has resigned Ml engagement in the Orchestra of the

Royal Italian Opera, Covent Garden. 17, Priuce's-Btreet, Cavendish-square.

MISS MARGARET McALPINE (Contralto), reques's that letters respecting engagements for Oratorios, Concerts, and Pupils, be addressed to her residence, 63, Burton-crescent, New-road.

MR. TENNANT has returned to town. All communications respecting engagements fur hlisaclf and Mrs. Tennant to be addressed to Messrs. Boosey and Sous, 28, Ilolles-street, CavendUh-square ; Meesrs. Chappell and Co , SO. New Bond-street; or to thoir residenco, 307, Oxrord-stroet, New Bond-street, W.

MRS. TENNANT (Sister of Mr. Sims Reeves), begs to acquaint her friends and the public that sho continues giving lessons in singing. For terms, apply to Messrs. Boosey and Bon% 28, Holies-street, Cavendish-square; Messrs. Chapftelt and Co., 50, New Bond-street; or at her own residence, 307, Oxford-street, New Bond-street. W.

MISS AtJERHAAN, (pupil of Mrs. Arthur Willmore) the juvenile pianist, who made a successful debut at St. Martin's Hall, will play ih? "Sonata Patuetique" at the Russell Institution on Tuesday next.

MR. WALLWORTH'S engagement with the Pyne and Harrison Opera Company being terminated, he is now at liberty for concerts, pupils. *c—30, Edwardes-stroet, Portman-square, W.

, B , 1

WMEYER LTJTZ has the honour to announce that • be has returned to London for the season.—Sfl, Richmond-terrace, Claphamroad, S.; or to Addison, HollSer, and Lucas, Regent-street.

MISS ELLEN LYON, Vocalist (Soprano). Letters respecting all public and private engagements to be addressed 26, Charlesstreot, Berners-Btreet, W.

MR. HOWARD GLOVER respectfully announces that he continues to train Student! for the Concert-room, or Operatic Stage; and to prepare Artists in Operas, Oratorios, &c. 28, Alfred-place, Bedford-square.

"jV/TR. PATEY begs to announce that he has returned to

. "T,?wn' nn'1 "'U b« °P°n to accept engagements for Orotorks or Concerts on and after the 16th inst. All communications to bo addressed to 0, Cambridirostrect, Hyde-park.

MRS. ROBERT PAGET (Contralto) will sing "Rock'd in the Oreslle of the Deep" (KulghtL " Gentle Troubadour" (Lur'lueX &a.. at Mr. n. Carvil's Grand Annual Concert at Myddletou Hall, on Wednesday evening next. Communications as to Coneerts, Oratorios, or Pupils, to be addressed to Mrs. R. Paget, 60, PcutouvtUe-rosd, N.

MISS SELINA PYKE (Pupil of Mr. Charles S&laman), continues to givo lessons on the PIANOFORTE. Miss P. attends schools aud her pupils westward, twice u week. 62, Great Prescott-street, B.

MEYERBEER'S DINORAH AND STERNDALE . BENNETT'S MAT QUEBN, are sung nlKhtly at the CANTERBURY HALL CONCERTS. Comic vocnli3ts—Messrs. George Ilodson (the Irish comedian and mimic), W. J. Critvhfleld and E. W. Mackney. Several interesting pictures are added to tho Fine Arts Gallery. Tbe suite of Halls havo been ro-dtcoratcd and beautified, and constitute one of the most unique aud brilliant sights of the metropolis.

THE ARION" (Eight-Part-Choir).—The members of this Society will meet until further notice every Thursday evening; at

8 o'clock, at 18, Bernors-street, Oxford-street. Conductor, Mr. ALFRED GILBERT.

F. F. REILLY, Hon. See. Persons desirous of joining the choir are roquosted to address the Secretary.

ORCHESTRAL UNION.—MR. ALFRED MELLON begs to announce that he will return to London about the middle of June, when he will be open to any engagements for the Band of the Orchestral Union, which he has reconstructed. Principal Artistes—M M. Sainton, H. HilL W. Watson, B. Payton, Doyle, Trust, G. Collins, Aylward, Howell aenr, White, P. S. Prattcn, Barret, Lazarus. T, Owen, Hausser, C. Harper, Stauden, T. Harper, Stanton i Jones, W. Wluterbottom, Cluffi, and F. 0. Horton. Applications respecting engagements to be made to Mr. George Dolby, 2, Hiude-street, Manchester-square, W.

commences on Monday, April 23rd instant,
Candidates for admission must attend for examination at the Institution, on
Saturday, the list instant, at One o'clock.

By Order of the Committee of Management, Royal Academy of Music, J. GIMSON, Secretary.

Tenterden-street, Hanover-square,
April 8rd, 1860.

MEYERBEER'S NEW WORK—" ASPIRATION"— CANTIQUE. (Short|Anthem.) The words from the orriRinal latin of Thomas a Kcrapis, ** De imltatlone Christ!." Composed for SIX VOICES (three sopranos, two tenore, and bass), with RecitatlveB for a BASS SOLO, an<1 Organ (or Harmonium) accompaniment ad libitum, by GTACOMO MEYERBEER. Price, in score. 4s. London! Duncan Davison and Co.. 844, Regent -street, where Moyerboer's setting of the Lord's Prayer, for four voices, 8s., and the Serenade, for eight voices, "This house to love is holy,1' 4S., may be obtained.

MOORE'S IRISH MELODIES AND NATIONAL AIRS, WORDS AND MUSIC. Now complete in one volume, small 4to. price 12s. cloth, gilt edges; or separately in 10 Numbers, prico Is. each,

MOORE'S NATIONAL AIRS and other SONGS, with Symphonies and Accompaniment* for the Pianoforte. People's Edition, edited by C. W. Glover. Both Words and Musio of this Work are Copyright.

Uniform with the above,

PEOPLE'S EDITION OF MOORE'S IRISH MELODIEDB, now complete, prico 12s. cloth, gilt edges; or In Tsn Numbers, separately, price Is. each. "Longman and Co.'s Feople's Edition " should be specified in all orders. London: Longman, Green and Co. aud Addison and Co. Manchester i Hlme and Addison.

Just Publlshod.

LARGHETTO CANTABILLE »nd ALLEGRO CAPRICOIO, for the Pianoforte, dodlcated to his esteemed friend W m. Bternaie Bennett, Mus. Prof. Cantab., by George Forbes. Leader and Cock, 6!, New Bond-street.

NEW SONG FOR THE VOLUNTEERS.—" The Good Old Days," Patriotic song, composed by J. L. tlatton, price is. 6d. Published this day by Boosey and Bona, Holies-street* _____


\J MASS and ROSSINI'S STAB AT MATER, arranged in the most effective manner for the Pianofore, by Henry Smart, price 3a each, complete, or handsomely bound, 6s. each. Boosey and Sons, Holies-street,. < ■

TO INVESTORS.—CONSOLS CAPITAL STOCK: is a medium for employing and improving Large or Small Sums of Money, in connection with Qoverniutnt Securities. The Stock, is issued by the Consols Insurance Association, 429. Strand, London. Incorporated pursuant to Act of Parliament. Investments bear Five per Cent per Annum Interest*, receivable Monthly, if desired.

Full particulars may be obtained on application at the CaieTOfficcs, 429, Strand, London, to

THOMA8 H. BAYLIS, Managing Director.

[blocks in formation]


"'Mozart's Twelfth Mass,' arranged for the pianoforte,"—by Henry Smart (Boosey and Sons). For those who wish to study all that Mozart has written, and are not able to read music from full score (how many are able ?) adaptations, or reductions, for pianoforte alone, by so accomplished a musician as Mr. Henry Smart, will offer advantages difficult to over-estimate. Whilo not a single point of any importance is avoided, or "botched," in his arrangement of the Twelfth Mass, it at the same time presents no obstacles at which even players of moderate attainments need stand aghast. Mr. Smart has indeed done his work to perfection, and as an example of the masterly Rkill that has enabled him to present so much of the original with such limited means at disposal, we may point to the fugue, "Cum Sancto Spirilu" (page 14)—premising, however, that all the rest is to match.

"' Rossim's Stabat Mater,' arrangedfnr the pianoforte"—by Henry Smart (Boosey and Sons). The "Stabat" of Rossini was even a more laborious task than the Mass of Mozart, but Mr. Smart has arranged it with equal felicity. The muchcriticised fugue, fugato, or fugued movement (whichever the reader pleases), to which Rossini, in a temporary access of contrapuntal enthusiasm unusual with his Melodic Majesty, has set the "Amen," may be quoted by the side of Mozart's "Cum Sancto Spiritu," as a specimen of Mr. Smart's consummate fitness for the labour he has undertaken. It is a great thing to say; but it is not the less a fact, that this pianoforte arrangement for two hands really gives an excellent idea of " Rossini's Stabat Mater.

"'Larg/ietto Cantabile, and Allegro Capriccioso,' for the pianoforte"—dedicated to William Sterndale Bennett, Mus. Prof. Cantab., by George Forbes (Leader and Cock). Although in this ably-written piece of music no trace of direct plagiarism can be cited, it sounds, nevertheless, so familiar that we seem to have heard it all somewhere else before. We are haunted, from first to last, in the allegro, by reminiscences of the once-familiar duet of Moscheles in A major; of Sterndale Bennett's Study in B flat {Six Studies in the form of Capriccios)—at the top of page 19, when a certain passage of triplets occurs; by Mendelssohn's Hondo Capriccioso (in the samekey)—where the second subject isaccompanied by arpeggios allotted to the right hand; by the same composer's Lied, So. 6 (in A), from Book 5 of the Lieder ohne Worle— in the second subject itself, which Mr. Forbes gives in common-time, while Mendelssohn has it in 6-8; and by a faint echo of Hummel throughout. In spite of all this, we are both pleased and interested by the composition, which not only is clever, but straightforward, sensible and musicianly. The only fault is a certain difFuseness, which, now and then, leads to vapidity—or, as some would write, vapidness, which is all the same.

"The Rifle Recruiting Call, 'Arm, brollvers, arm'"—song with chorus, ad. lib.—words by Alexander Maclagan, music by Maurice Cobham (Wessel and Co.). We learn, from the title-page, which is, moreover, embellished with a boldlyexecuted lithograph, from the stone of Mr. A. Laby, that this spirited and well-written song was "performed by the band of the gallant 78th Highlanders, at the Grand Military Bazaar, Edinburgh."

"' The Humming Top,' Folie Muticale, for the pianoforte, dedicated to Lady Cecil de la Feld"—by Bellenden K. Atkins (J. H. Jewell)—may be recommended as an excellent study for young players, affording useful practice for the thumb

and index of either hand, while the extreme digits, also of either hand, are employed on a sustained melody and bass. Unpretending as it otherwise is, " The Humming Top" is by no means without merit, although the episode, commencing at the foot of page 3, is rather tame until the progression begins (page 4), which conducts to the coda, and, like the coda, is decidedly good. May we, without offence, sug est to Miss Bellenden K. Atkins the propriety of adding a flat to the A in the bar at page 4, line 1, bar 3?

'"An Evening with BoJfe,' milange of the most favourite airs of that popular composer"—arranged for the pianoforte, by Rudolf Nordmann (Boosey and Sons). The airs comprise "Nelly Gray;" the Longfellow serenade, "Good night! good night! beloved;" ''Daybreak" (a popular setting of another poem by Longfellow); the opening chorus from Satanella (" Donor of this lordly fete"); "Fortune and her wheel," the most admired of the four settings of the songs from Tennyson's Legends of the King; the barcarole, "Oh, boatman haste;" the simple but taking ballad of "Margaretta;" and last, not least, the universally-known "Come into the garden, Maud." The bouquet is made up of the choicest flowers from Mr. Balfe's most recently trimmed melodious garden, and is made up with infinite taste by Herr Nordmann.

"1 There's nothing like a fresh Evening Breeze'; sing"— composed expressly for Mr. Thomas, by Alberto Randegger (Boosey and Sons). There is nothing like a good song in its way; and here we have what in every way is a good song. It has life and vigour; it is perfectly well written; it is original (though flavoured with a smack of the old English character); and it is decidedly effective. We hope some day to hear it sung by Mr. Thomas, for whose fine bass voice and healthy energetic style it is eminently fitted.

"' Don't come teasing me, Sir'song"—words by Herbert Fry, music by J. L. Hatton (Boosey and Sons)—is another song with a taste of the old English melody in it. Mr. Fry has addressed a smart homily to a male coquet (the most unpardonable species of human humbug), and Mr. Hatton has " musie'd" Mr. Fry's disdainful epigram in his smartest and most epigrammatic manner. The neatness with which this little song is written, the raciness of its melody, and its admirably appropriate expression, should win for it a popularity at least equal to that obtained by any previous emanation from the genial and unaffected pen of its composer.

"' Tlie maid I love hath many a grace 'song"—words by Augustus Greville, music by J. L. Hatton (Boosey and Sons).—Here we find Mr. Augustus Greville, in an effusion no less smart than the homily of Mr. Fry, apostrophising the perfections of a maid on whose physical graces and endowments he dwells with poetical pertinacity, eulogising them under the thin disguise of interrogatories addressed alternately to a mariner, a knight, and a herd. Listen to the amorous bachelor :—

"The maid I love hath many a grace;
How fair her form,—how sweet her face!
And cans't thou tell me, mariner, fast sailing o'er the sea,
If ship, or sail, or ev'ning star, were half so fair to thee?
Tho maid I love hath many a grace;
How fair her form,—how sweet her face!

And cans't thou tell me, cavalier, whose arms are eleaming bright,
If steed or arms be half so dear as her fond eyes of light?

The maid I love bath many a grace;

How fair her form,—how sweet her face I And can'st thou tell me, shepherd boy, watching thy flock with care, If herdf, or sunlit valleys green, or skies be half so fair?"

More of the old English flavour, both in words and music, which, we may add, are all the more welcome on that account.

"Meyerbeer's 'Dinar ah,' complete edition, for voice and pianoforte, with English and Italian Words, the English version by H. F. Glwrley, to be published in EigfU Parts" (Boosey and Sons). The whole of the voice and pianoforte score of one of Meyerbeer's master-pieces for eight shillings I What next? At first one would have expected to see careless engraving, bad paper, and worse printing. Nothing of the kind. The publication is as correct and as nicely got up as the matter is valuable; so that we have Meyerbeer's Dinorah "for the million" in a shape that would not disgrace the exclusive drawing-rooms of "the few." All that the publishers have to fear is that " the few " will too eagerly avail themselves of what is intended for " the many," and purchase the cheap edition to the detriment of its more costly predecessor.

"De Beriot'8 Seven Airs, Nos. 1 to 7, with variations for the violin!' (Boosey and Sons). Here is another handsome shilling's worth, at which, or we are greatly mistaken, all amateur violinists will jump. What sound practice is to be got out of De Beriot's Airs Varies need hardly be said.


THE PNEUMATIC LEVER. Sir,—Some time ago I troubled you with a few remarks on the Pneumatic Lever, in the hopes of drawing from some of your correspondents an account of their experiences in the working of this well-known mechanism; however, excepting a well-written article from the pen of your own organ contributor, 1 received no reply; and although many had verbally complained, no organist or organ-builder seemed to think the matter worth writing about. This seemed strange, when it is remembered that the pneumatic action has in a manner revolutionised the whole of organ-building: nevertheless, such is the truth. I see in the World of last week (17th inst.) a letter from Mr. McKorkell; in which, when speaking of the Leeds organ (one of the finest instruments of the day), he uses this expression: "The delightful elasticity of the old action (well made) is wanting," &c, in reference to the pneumatic valves. May I ask, then, "Is the Levier Pneumatique necessarily deficient in elasticity and rapidity of utterance 1 I have found it so, and many have told me that their experience of it was to the same purpose. Flute Harmoniqub.

A DELICATE POINT. Sir,—Much has been said at times respecting the rights of authors and composers; those rights are now sufficiently protected, but I would ask whether, in framing the laws to give that protection, it was ever meditated that commercial interests, other than those involved in the rights which an author or composer can justly claim—and they may make too much of their privileges—should seek to be able to place themselves under the same protection J I am not going to contend that an author or composer should not have the privilege of disposing of his rights to either publisher or director of any public entertainment; but I do consider it unfair and unjust for a work to be sold to two contending interests, made so by circumstances, as in the case of the opera of Lurline, where the exclusive right of performance has been secured to one party, and the publishing of the work disposed of to another, who sells it to the public. If an artist buys a copy, he cannot perform it in public without permission so to do from the party who has secured the exclusive right of performance. Here is a clashing of interests, and an injustice is done; a clashing of interests, for we all know that the greater the publicity of the work, the greater the chance of sale, but where is the publicity of a work if its performance is restricted? An injustice is done, because an artist has not the right, at least

not a legal one, of singing or performing in public a piece of music he has bought and paid for at the market value. If this right of performance be withheld, then I maintain that the music ought not to be published and sold, particularly as no intimation of such restriction of performance is conveyed to the buyer either on the music or otherwise—a work once published and paid for by the public who buy it should become public property. I am, sir, your obedient servant,

28th March, 1860. R. M.


Sir,—The idea of starting a shilling subscription for the family of one who was the first to give the British public an opportunity of hearing for that sum the same class of music, by the same executants, and equally well performed, as had been hitherto the exclusive privilege of the wealthy, was an excellent one, and deserves universal support. Everyone said that they would willingly contribute,but a great many, I find, have omitted to do so, not from apathy or disinclination, but simply because they have not happened to pass anywhere in the neighbourhood (mostly the West-end) where subscriptions are received. I would suggest therefore that those who have this good cause at heart (and who has not ?) should follow the example of the writer, and take every opportunity of personally canvassing their friends and acquaintances, by which means a considerable addition may be made to the fund. •

I have since Monday last collected £l lis. in single shillings, some from comparative strangers, whom I have onljr met upon business matters; but in no instance has the shilling been refused. I hope to add to this next week, and shall hand the amount over to be acknowledged in the Musical World.

Yours, &c., W. W. Clkmow.

5th April, 1860.

THE LATE M. JTJLLIEN. (Extract from a Letter addressed by a Medical Man to a friend in London).

I Went to Jullien's funeral yesterday with S . He was

buried in the most simple manner. It was distressing to see a man like him, after having entertained and enchanted thousands and thousands of people by his talents, to be followed to the grave by about ten persons. It is true, if it had been more generally known, I have no doubt more would have been there. Respecting the information you require, the following is what I have gleaned:—

Louis George Antoine Jules Jullien, born at Sisteron, BasAlpes, France, died on the 14th of March, aged forty-eight in April. He was a man of great intellectual capacity, and the power of his imagination equalled that of his herculean strength. No doubt the unavoidable reverses of fortune, particularly his incarceration in Paris, preyed deeply on his mind, as he feared that it would deprive him of the means of providing for his widow if anything happened to him. This circumstance he mentioned to me several times, and it seemed to pre-occupy his mind. His general health has been much better lately. At times he was rather exalted in his ideas, which were always of a philosophic turn. I had often cautioned him against applying himself too closely to his profession, for he would compose sometimes not only all day, but continue through the night, so late as three or four in the morning. With the exception of this, his habits were exceedingly regular, scarcely ever tasting wine, smoking, &c, &e.

When Jullien first came to Paris I attended him for a slight indisposition from which he quite recovered, and subsequently attended him. The first decided symptoms of the disease that terminated so fatally occurred about three weeks since, with eccentricities, then incoherence in his ideas. Still it was impossible to remove one of the causes of all this mischief, namely, composing and attending the rehearsals for a concert which was to take place shortly. From this state he became more and more extravagant in his ideas, until he grew into a dangerous lunatic.

After a conversation with Dr. Blanche (a very celebrated man for those complaints), he ordered his immediate removal to a lunatic asylum. But, to spare the feelings of his poor widow, I suggested waiting another day. He had slept during the night, but in the evening he was much worse, in fact raving mad. I had him then removed to an asylum, where he had the care of another medical man, Dr. Pinel, who is likewise celebrated for all cases of insanity. He remained in the same excited state about a fortnight. I saw him several times; he knew me, but was very incoherent. During the last few hours, he seemed to have a few lucid moments. Every care and attention that was possible, he had. He received the sacrament the last half-hour, and died quite composed. He is buried at Neuilly. He was a good, honest man, notwithstanding his ruinous speculations, and very few such kind generous hearts are to be found to equal his. The fact of his giving the two last napoleons he had to a poor woman and her two children, who, she said, were starving, is sufficient to prove it.


The concerts of this Society are undoubtedly progressing, and the committee are to be commended for the energy they display in endeavouring to impart freshness to the programmes, ■which have been much varied of late, and no longer exhibit that air of monotony which for some time characterised them. Let us hope their policy will be persisted in, and that the stereotyped order of Symphony, Overture, and March, may be modified by the introduction of pieces adapted to create excitement amongst the listening members. The Fifth Concert took place at the Hanover-square Booms, on Monday evening, when the following capital selection was made :—

Pabt I.

Symphony, No. 4, in B flat Beethoven.

Becit. et Romance, " Guillaume Tell" Rossini.

Duo Concertante, for Pianoforte and Violin, "Les

Huguenots" Thalberg & de Beriot.

Overture, " The Templar" Henry Leslie.

Pabt II.

Air—Cornet-a-pistons, " Stabat Mater" Bossini.

Finale to MS. Operetta, " Out of Sight" Fred. Clay.

March of the Israelites, "Eli" ... Costa.

Bolero, " Vepres Siciliennes" ... Verdi.

Overture, "II Barbiere" ... Bossini.

Conductor—Mr. Henry Leslie.

The symphony was played very creditably, though we must not too curiously criticise the finale, which is a little beyond the capacity of our vigorous amateurs. Mr. Leslie's clever and dramatic overture has been several times performed by the Society, and on this occasion met with every attention from the orchestra. Mr. Costa's March, and a somewhat eccentric version of the overture to 11 Barbiere, were both well executed. Mr. Mitford was unavoidably absent,and could not perform his solo on the comet-a-piston. Mr. Val. Morris, in a brief and appropriate speech, stated that the band would play the overture to Le Cheval de Bronze, which gave general satisfaction. M. and Madame d'Egville deserve Honourable mention; and, at the end of the Duo Concertante, were applauded enthusiastically.

The vocal music was as good as could have been desired. Miss Augusta Thomson created a marked impression, and was encored in the romance Trom Guillaume Tell (accompanied on the pianoforte by Mr. J. G. Callcott). Her voice is a high soprano, and the upper notes are of beautiful quality, but is scarcely equal to the Bolero from Verdi's French opera. We fully believe that Miss Thomson will, when she has overcome the nervousness natural to comparative inexperience, prove a valuable acquisition to the concert room.

A word of hearty commendation for Mr. Frederick Clay, whose finale was very well sung (by Messrs. Gordon Cleather, Charles Freemantle. Quinten Twiss, C. Stephenson, and W. H. Simpson), and loudly redemanded. We have heard a great deal of his drawing-room operetta Out of Sight, and can readily credit all that has been said in its favour, the finale exhibiting

constructive ability, good voice-writing, and well-sustained melody. Mr. Clay must work hard, and take care not to be spoiled by praise. He has undoubtedly a '' future."

The room was crowded, and amongst the company we noticed the Duke and Duchess of Wellington, the Duchess of Montrose, Lady Theresa Lewis, Lady Elizabeth Bulteel, and a host of fashionables.

At the next concert, which is to be given on April 16th, we read with satisfaction that Miss Cazaly is to perform Mendelssohn's pianoforte concerto in D minor.

The instrumental pieces on Monday evening—when St.
James's Hall was again crowded—came from what a morning
contemporary aptly styles, "the inexhaustible repertory of
Mozart." Subjoined is the programme:—
Pabt I.

Quintet in A major, for clarinet, two violins, viola,
and violoncello ... ... ... Mozart.

Song, "Lascio ch' io pianga" ... ... ... Handel.

Song, "Oh! beauteous daughter of the starry
race" Beethoven.

Fantasia in C minor, pianoforte solo ... ... Mozart.

Pabt II.

Sonata, for violin and pianoforte, in B flat .. Mozart.

Serenade, "When the morn is brightly shining" Molique.

Song, " The Savoyard's Song" Mendelssohn.

Quintet, in £ flat, for pianoforte and wind

instruments ... ... ... Mozart.

Conductor—Mr. Benedict. The quintet in A major was repeated by general desire, And afforded even greater satisfaction than at its first or second introduction. Of the merits of this work, so well known to amateurs, we need not say a word. The performance was again admirable, the executants this time being Messrs. Lazarus, Sainton, Bies, Doyle, and Paque. The fantasia in C minor and the quintet in E flat wero both played for the first time at the Monday Popular Concerts. The entire collection of Mozart's instrumental compositions for the chamber contains nothing more exquisitely beautiful, nor more masterly, than the quintet, which created so powerful a sensation on Monday night, that the directors would be warranted in introducing it on another Mozart night. The performers were Messrs. Benedict (pianoforte), Lazarus (clarinet), Nicholson (oboe), Chisholm (bassoon), and C. Harper (horn), who, we need hardly say, played a merveille. Mr. Benedict executed the delicious fantasia with admirable expression, and was overwhelmed with applause on leaving the platform. The sonata for violin and pianoforte, like the quintet in A major, was given for the third time, and the slow movement encored as on a former occasion, when played by the same eminent professors—M. Sainton and Mr. Benedict.

The vocal music was entrusted to Miss Laura Baxter and Mr. Sims Beeves. The last sang Handel's song, "Lascio ch'io pianga," and Mendelssohn's "Savoyard's Song," both with genuine feeling—the latter, nevertheless, somewhat too slowly —and with a voice not easily to be surpassed for quality. Mr. Sims Beeves, who is singing better this year than ever, was encored in both his pieces, Beethoven's " Oh ! beauteous daughter of the starry race," aud Molique's serenade, " When the moon is brightly shining," the former of which he gave with superb devotional energy, the latter with equal taste and feeling. Mr. Beeves had, however, a greater triumph in store than either. In consequence of the non-arrival of one of the performers in the quintet in E flat, the audience, kept waiting an unusual time, did not refrain from expressing their dissatisfaction aloud, when Mr. Benedict came forward, and, announcing the cause of the delay, stated that Mr. Sims Beeves had volunteered to fill up the time by singing " Adelaida." This announcement was received with thunders of applause, which, when Mr. Beeves appeared, were redoubled. Mr. Beeves sang and Mr. Benedict played the accompaniment of Beethoven's divine, song from memory, and the delight of the audience was beyond measure. Meanwhile the "late" performer, whose delay could be satisfactorily accounted for, arrived, and the quintet was given with undiminished success.

The concert on Monday is to be devoted exclusively to the music of English composers.


Crystal Palace.—Professor Bennett's cantata (or pastoral), The May Queen, was executed on Saturday, with a band and chorus of one hundred and fifty performers, under the direction of Mr. Augustus Manns. The principal singers were Madame Catherine Hayes, Miss Palmer, Mr. W ilbye Cooper, and Mr. Santley. The execution on the whole was good, and the audience, a numerous one, appeared thoroughly to appreciate the beauties of the work. In addition to the cantata, there was a miscellaneous selection in which the band played Spontini's overture to Olympia; Mr. Wilbye Cooper sang Hatton's ballad, "Under the greenwood tree;" Mr. Santley gave Rossini's scena and aria, "Alle voci della gloria ;" Miss Palmer, the air from the Prophke, "Ah! mon fils ;" and Madame Catherine Hayes, Mr. Lover's song, "The two Castles" (composed expressly for her), and "The Irish Mother's Lament," the last "by desire." All were successful performances, and "The Irish Mother's Lament" was again encored.

On Monday, the series of twelve concerts for Mdlle. Piccolomini was inaugurated most inauspiciously in consequence of the unfavourable state of the weather. It rained all day with few intermissions, and the Metropolis was visited by a hailstorm in the forenoon. No wonder the concert-room of the Crystal Palace was not more than three-parts full—the wonder, indeed, was, that so many attended. Mdlle. Piccolomini, however, sang with as much zeal as though she were exhibiting before her accustomed thousands, and was enthusiastically encored in both her songs, " Ah, fors' 8 lui," from La Traviata, and "I dreamt that I dwelt in marble halls," which we never heard her sing with greater expression. The concerts during the week require no further record beyond the fact that Mdlle. Piccolomini has given two songs daily, and that Mr. Patey was the other vocalist. Yesterday, the programme was devoted to sacred music.

Beaumont Institution.—The last concert of the season came off on Thursday evening week, and was one of the best and most varied entertainments of the series. The singers were, Miss Clari FraBer, Mdlle. Vaneri, Mad. Sainton-Dolby, Mr. Morgan, and Mr. Allan Irving. We need only mention a few of the most successful performances in the programme, which extended to nearly thirty pioces. Miss Clari Fraser, Mdlle. Vaneri, and Mad. Sainton-Dolby were encored in the trio, "My Lady, the Countess," from the Matrimonio Segreto. Mad. Sainton-Dolby repeated Balfe's song, "The green trees whispered," which she sang delightfully. Miss Clari Fraser received a similar compliment in an old ditty of the seventeenth century, taken, we believe, from Mr. William Chappell's work, Popular Music of the Olden Time, called "As down in the meadow I chanced for to pass," which pleased amazingly, not merely because it is a beautiful song, but because it was beautifully sung. Miss Fraser, however, acknowledged the compliment by bowing only. The same lady, to our thinking, was still happier in the old air, "When ye gang awa, Jamie," a model of Scotch ballad singing. Mdlle. Vaneri, although hardly in her best voice, gave Mr. F. Mori's charming ballad, "The May time is coming," with irreproachable expression and taste. Herr Ries executed on the violin Vieuxtemps' fantasia on 1 Lombardi, and Artot's Souvenir de Bellini. The coucert terminated with Martini's laughing glee (trio), "Come, merry hearts, be free" ("VadaBi via di qua,") sung by Miss Clari Fraser, Mdlle. Vaneri, Mr. Morgan, and Mr. Allan Irving. Mr. Frank Mori accompanied all the vocal music.

Belfast.—Mr. J. C. Marks, of the Armagh Cathedral Choir, has just been appointed organist and choir-master of Cork Cathedral, in the place of Mr. Stevenson, lately deceased. This is one of the best appointments in Ireland, and its attainment must be very gratifying both to Mr. Marks, who is still, a very young man, and to his master Mr. Robert Turtle.


Edinburgh.—Last night Cimarosa's favourite opera, R Matrimonio Segreto, was performed for the first time in Edinburgh. The cast was as follows :—Carolina, Madame Lorini; EliBetta, Madame Maritini; Fidalma, Madame Vietti; Paolino, Signor Galvani; Count Robinson, Signor Baraldi; and Geronimo, Signor Ciampi. Signor Galvani, in the aria "Pria che spunte," sustained a well-merited encore. Signor Baraldi made a very creditable Count, and sang his music, as he always does, carefully and correctly. In Geronimo, Signor Ciampi has achieved another great Buccess. It was a subtle and masterly conception, carried out with the highest artistic skill. The other morceaux of the opera which may be mentioned for special commendation were the sestetto "Che tristo sileuzio" at the close of the first act, and the famous duet "Se fiato in corpo avete." Altogether the performance was highly satisfactory, considering that it was the first representation and that the music is exacting. The attendance in the boxes was very large; the other parts of the house, however, showed little improvement. At the close of both acts the performers were called before the curtain to receive the plaudits of the audience,— Abridged from the Scotsman.

York Minster Organ.—This organ, the progress towards the completion of which we noticed a few weeks since, has now passed out of the hands of Messrs. Hill and Son, the builders; and, with the exception of some little tuning, which it is now undergoing, the instrument may be looked upon as completed. In the external appearance of the organ, however, there is a want of finish, from the side cases not being nearly filled with pipes ; but this space we have no doubt will eventually be filled up, and the sides made more consistent with other parts of the organ. Three of the hydraulic engines, which are intended to work the blowers, have been fixed and used, and they have been found to work most satisfactorily. Another engine, however, remains to be put down. As this is the first instance in which hydraulic power has been applied to a musical instrument, in a public place of worship, in this city, a brief description of the engines may be of interest to our readers. The hydraulic engines were invented and patented by Mr. David Joy, of Leeds, who has, by labour and ingenuity, succeeded in adapting them to organ-blowing, and other purposes. Those in tlie Minster will each work a set of feeders, by no other means than the pressure of the water, by a six-inch main, from the New Water Company's works. They can all, or any of them, be started at a moment's notice, at the will of the organist, and require no further care or attention, as they are perfectly self-regulating, and, by a careful adjustment, are made to blow quickly or slowly, according to the consumption of wind required. The parts working in the water are also of such materials relatively, as not only to prevent rust, but also to promote self-lubrication of these parts by the water itself. Great numbers of these engines have now been at work, since the date of the first patent in 1857, with perfect efficiency, several of the first having been erected in the above year, in London, by Messrs. Hill and Son, the builders of the York organ, who are also erecting others extensively in various parts of the kingdom. We understand that Mr. Jones, hitherto a tuner in the employ of Messrs. Hill and Son, has been engaged to remain permanently in this city, as tuner to the Minster organ.— Fork Herald.

Leeds.(From a Correspondent).—At a special meeting of the Leeds Town Council on Saturday last, the Town Hall committee were empowered to take steps for appointing an organist at a salary of £200 per annum. During the discussion on the subject, it was stated that out of the performances on the organ given last summer by Mr. Spark, Mr. Broughton and others, a profit of £50 was made—the admission price being only 3d. One of the reasons given why it was considered necessary to appoint a permanent organist, was the jealous and envious feeling of certain musical people, who declared the organ to be a failure, when they ought rather to have blamed their own want of efficiency in playing upon it. It was stated by Alderman Wilson, on good authority, that Leeds possessed one of the finest, if not the finest, organs in the world, and at a very cheap price. Competent authorities have long urged tho advisability of ap

« ElőzőTovább »