we are particularly delighted with those passages in which the author dwells on and explains the peculiarly German character of the music. As a specimen, we select the following :—•

"The part of Saraatro was, in a different way, a new creation, like that of Osmin. If the latter possessed a model in the buffo of Italian opera, the part of Sarastro is without any predecessor properly so cilled, for the dignified parts" (Anstandsrollen) "which fell to the lot of the basses in the Italian operas, are as little to be compared with it, as barytone parts, like those of Almaviva and Don Giovanni. Directly opposed to the passionate character of such parts is the manly dignity and grave calm of the sage and the ruler, as represented in Sarastro, and which would be much less thankful in musical representation had not Mozart, who here manifests his genuine German nature, fallen back upon their source in the heart. Most unmistakeably is the strongly marked kindliness of nature, which, in many respects, is capable of injuring a high degree of idealism, a peculiar manifestation of the German character, and one which is not essentially changed even by the foreign-like symbolism. For the simple, heartfelt expression of this passionless but warm appreciation of benevolence and confidence, such as is cherished in the mind of a man matured by the seriousness of life, Mozart developed a musical organ in the strong, sonorous bass Toice, and gained a new and essential element of dramatico-musical characterisation.

"A pair of lovers like Pamina and Tamino, so ideal and so enthusiastic, cannot disguise their German origin and character. We shall find nothing like them in Mozart's Italian operas, and even Belmont and Conatanze, although essentially of similar nature, display more humad passion. It is truo that Mozart has found for them another mode of expression, not alone in the greater freedom of the forms but, principally, by hitting upon that tone which, simply and truly, renders German feeling, with all its still, calm fervour and warmth— which expresses the idealistio element of that same feeling without false sentimentality or mawkishnees.

"Papageno is, it is true, only a jester, far removed from delicate wit and genuine humour, but his jokeB, despite their great simplicity, are healthy and natural, and unmistakeably conneoted with one aspect of German feeling and sentiment, which, in its limited sphere is exceedingly powerful, and explains how it is that Papageno became, and atill is, the favourite of a great part Of the public. Although Schikaneder, who made the part exactly to fit himself, and subsequently represented himself as Papageno, on the front of the new theatre in the Wieden, a theatre he erected with the money he made by Die Zauberflote, had some share in this success, the principal merit even here falls to Moiart, who succeeded in imparting to the good humoured jollity peculiar to our nation, such a happy musical expression in an artistically developed form, that what he had learnt by studying the people was readily welcomed back by them.

"If there is a personage in Die Zauberflote who displays German character it is Papageno. Despite his feather-dress, this child of nature is, from the crown of his head to the sole of his foot, a German. The essential difference between him and the comio personage of the Opera buffa, especially Leporello, who, outwardly considered, appears to come nearest to him, is good nature and feeling, which, under all circumstances, hursts out frankly and naively. The musical characterisation which produced, in Papageno, a completely new creation, altogether removed him from that subordinate region in which the Casperles used to move, by falling back exclusively on the heart, and by presenting us, in all their coidial simplicity, with the involuntary, immediate manifestations of a natural, if not a noble, feeling, just as tho situation called them forth j thus the musical expression came to be, in the best sense of the word, a popular ono, because not founded upon accidental and detailed traits, at least, not on such as conceal the true nature of the character, but upon what is genuine and true in the heart and disposition of the people, and which, through the soul and by the hand of the artist, has now been born again, and is a living thing. The German stamp already mentioned on the musical form is,!therefore, most palpably manifest in Papageno; in no other part is the relationship, already alluded to between the formation of the melodies and that which most obtains to Mozart's instrumental compositions, so strikingly pluin. In addition to this, with the exception of the charaoter of Songiness" (des Lied ha/ten) "necessitated by the nature of the subject, we nowhere discover any need of obtaining material means of characterisation by dragging in definite forms, such, for instance, as the generally favourite waltz or other dances, or sharply marked turns of national vocal melodies. Everything that calls to mind old forms, developed by Italian opera, is avoided, and every foreign influence out off, and then, completely out of German feeling, the form is freely developed, according to the

standard of the universal laws affecting musical shape, and the requirements of the situation in each case.

"This genuine German nature of the mental and musical conception, as well as the consequent freedom in the treatment of the form, the result of which, by the way, is the olosest adherence to the dramatic movement, has struck us, even when considering most of the principal characters, the Queen of Night alone being a partial exception, and, finally, appears to be that which constitutes the peculiar character of Die Zauberflote as a genuine German opera.

"Mozart did not seek content alone in Freemasonry, the universal and profound interest in which was a characteristic sign of the period and its movement, and German feeling and German heart are plainly displayed in the manner in which Freemasonry was conceived, developed and applied. Here, also, then, Mozart stood upon national ground; it is precisely what, in intention, is noblest and best, and, is artistic delineation, highest and most significant, which is conceived is B truly German way ; and the more profoundly the artist was moved in the recesses of his heart, the more strongly and the more directly has he stamped the musical impression with a German character. It a not, therefore, merely by accident that, in order to pourtray a moment of the most solemn gravity, he selected an old German choral melody, and made np his mind to treat it in a way which, also, was pecaliar to Germany. It is a fortunate thing that musical delineation, from its nature, was obliged to leave on one side the characteristic element— which produces so chilling an effect in allegory—and derives its impulses from the deeply-moved and solemnly excited feelings aloae. Here is clearly the foundation of musical creation! hence proceeds a higher spirit through the whole, a spirit which imparts even to what is in itself unimportant, to what is naive and merry, an expression that causes us to feel that these elements, also, are part and parcel of the whole.

"Whenever the mystic element is brought prominently forward, the orchestra assumes a totally different character. Not only are unusual expedients, such as trombones and basset-horns, employed, but, by means of various combinations, a strange description of sound is produced, which, in conjunction with the richest light and shade, and tin most delicate gradations from heavy sorrow to dazzling brilliancy, always preserves its fundamental tone of solemnity and elevation, so that the hearer fancies himself I transported to some sphere removed from the every-day world. Not only are unsuspected capabilities of tie orchestra brought into play, but justice was first done, on a large scale, to the power possessed by the orchestra to characterise by colouring; and Die Zauberflote is the starting-point for everything which ocr music—so inventive in this particular—has since done. We must not forget, however, that, with Mozart, instrumental colouring is merely one means in conjunction with others, to do full justice to the artistic idea, and never by itself pretends to repress the latter, far less to replace it."

"The fact that Die Zauberflote, in its whole musical conception, B truly German as to tone, treatment and form, and that, on it, Germta opera first employed, in the domain most peculiar to it, all the resources of developed art with freedom and mastery, gives it a most particular importance and position even among the operas of Mozart. If, in his Italian operas, he has assumed tho inheritance of a long traditioa, and, by peculiar development, brought it, in a certain degree, to a conclusion, with Die Zauberflote he steps on the threshold of the future, and unlocks the sanctuary of national art to his countrymen. The hitter understood him, for Die Zauberflote forced its way, immediately and universally, among tho people, as no musical work of art had ever dons before, and it still maintains its place even at the preseut day. Wnat an influence Die Zauberflote has excited upon the progress of German musio is something which can escape no one who has an eye for the development of art."

St. Martin's Hall—Messrs. Griffiths and Perkins gave a concert on Thursday night. The conductor was Mr. H. Matthews, late director of the Islington Choral Society; and the chorus was composed of members of the Handel Festival Choir. Miss Charlotte Tasker played a fantasia on English and Irish melodies, and Beethoven's "duet concertante, for flute and pianoforte, in D, the flute bcincr taken by Mr. J. Sander. Miss Banks sang an air by Balfe, and was encored in the "Bailiff's Daughter of Islington" (from Chappell's collection of English airs), which she had given with much expression, but which she did not repeat, substituting for it the "I" ^Zingara." . . ,



Price One Shilling each piece.


Power of Love

Slaves' Chorus .'" Do.

Our hearts are not Do*.

Oh, would she but .. .. .. Do"

The Shadow Air Dinorah.

Santa Maria .. >t Do.

Fanciulte (canzonet) Do.'

Hunting Song Do!

M' appari tutt' amor Martha.

Drinking Song Do.

Servants' Chorus Do.

Finale to First Act Do.'

La donna e mobile Rigolotto.

Fra pooo a me Lucia.

O luce di quest' anima Donizetti.

A te o cara Puritaui.

Suona la tromba Do.

Son Vergin (Polacca) Do

At*ATj5J» •• _ Sonambula.

Maid, those bright eyes .. .. Do.

Do not minglo .. ,, ,. ,, Do.

While this heart Do'.

Stillso gently o'or me Do!

Com' e gontil Don Pasqude.

II Segreto Luerezia Borgia.


Beautiful Star and Bing de Banjo.
Good News from Home.

We are coming Sister Mary; and Walt for|tho Waggon.

Nelly Gray.

Hard Times.

I'm off to Charlestown.

Ma Brunette (Arnaud)

Summer Bloom is past (Miss Hay.)

Annie Laurie (Scotch Air.)

La Sirenc de Sorrente (Arnaud.)

Partant pour U Syrie.

Cradle Song (Mendelssohn )

When the Swallows (Abt.)

Old Fo'ks at Home (American.)

Bed, White, and Blue (National.)

Bonnie Dundee (Scotch Air.)

Home, Sweet Home (Swiss Air.)

Lcs yeox bleues (French Soug.)

In the Greenwood Free (Richards.)

Bright Things can never Die (Rimbault.)

GonsigHo a Nice (Quglielmo.)


Io te voglio bene assaje (Neapolitan Air.)


Alexis .. ,. , Himmel.

Uno belle fleur .. Hunten.

La pensee Nculand,

Air Kavori (A flat) De Beriot.

Ghost Melody Corsioan Brothers*

Nuns' Prayer Oberthnr.

La Florentine BurgmQller.

Rheinweiulied .. .. .. Accou.

Greek Pirates' Chorus Alvars.

Camille Itavina.


Maud Valse.
Konigaberg Polka.
Sntaneila Quadrillo (complete.)
Pantomime Galop.

Alico Waltz Browne.

Violet Mazurka .. Duchesne.

Morry Gipsy Polka Wenzell.

F6to do tuaa Quadrille Lamotte.

Crown Polka KOhier.

Villikins Valae Laurent.

Electric Galop Gollmick.

Boosey and Sons, Holies-street, London.

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In Three Vols., oolong folio, 15«. each; or in Eighteen Numbers, 3s. each.

Messrs. D'almaine & Co. in announcing to the professors and accomplished amateurs of the Organ, the publication of the above important "Work, beg to state that they have been induced to publish the same, in order to supply the requirements of the Modern School of Organ-playing.

The CC scale being now universally recognised as the only true and legitimate compass for the Manuals and Pedal-clavier of an Organ, it is evident, that most of the former arrangements of classical compositions for the GG instrument —with its incomplete and defective Pedal-board—are inadequate to the capabilities of the CC organ. For instance, in previous arrangements for the GG scale, not only the position of the different instruments, but also the vocal parts, have often been reversed, in order to facilitate the execution of certain passages; thereby violating established theoretical rales, and producing a totally different effect to that intended by the composer.

The Editor, having arranged the celebrated compositions contained in the present work from the full scores, has endeavoured to represent, as far as practicable, the orchestral effects capable of being produced upon the grandest and most majestic of all musical instruments.

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This work is engraved in the first style, on large plates, oblong folio size, and printed on a thick superfine paper, which has been made expressly for the purpose. The publishers confidently state, that they have spared no expense in rendering the present work for the organ truly worthy of the "King of Instruments."

%* The copyright of " The Classical Organist" is the sole and exclusive property of Messrs. D'Almaine and Co.


A specimen copy may be had gratis and postage free on application to the publishers, or to

Mr. J. T. Stone, 40, Berners-street, W. ."

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Printed by William

Published by John Booset, of Castlebsr-hill, in the parish of Ealing, in the Coun

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HER MOST GRACIOUS MAJESTY THE QUEEN, H.R.H. THE PRINCE CONSORT, THEIR ROYAL HIGHNESSES THE PRINCESSES AND PRINCES OP TnE ROYAL FAMILY, Tho Most Worshipful the Grand Master of Iroland, His Grace tho DUKE of LEIN8TER, And Kwrnl other Dittinguithcd Framasonl: nis Excellency the Lord Lieutonant of Ireland, the EARL of EGLINTON and WINTON, The LORD BISHOP OP MANCHESTER, The Hlght Worshipful tho MAYOR OF MANCHESTER, IVIE MACKIE, Esq. His Worship the Mayor of Salford, W. HARVEY, Esq. 8IR FREDERICK GORE OUSELEY, Bart., Director of Music at the University of Oxford. And many of the Nobility, Gentry, Clergy, and diitinguished Families 0/ the Empire.



Organised in 1848, and developed at THE ROYAL COLLEGE OP MUSIC BRIDGE STREET, MANCHESTER, established by him expressly as a Great National Institution to facilitate tho 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 music shall become a branch of education in the humblest of schools of this country. To illustrate and to rouse an Interest in every town and city for those institutions, Dr. Mark travels with a number of his pupils occasionally through tho country—giving lectures, and introducing his highly approved and pleasing Musical Entertainmont, entitled DR. MARK AND HIS LITTLE MEN, who number upwards of Thirty Instrumentalists, and a most Efficient Chorus, the whole forming a most uniquo and complete Juvenile Orchestra, composed of LITTLE ENGLI8H, IRISH, SCOTCn AND WELCH BOYS, FROM FIVE TO SIXTEEN YEARS OF AGE, who play Operatic Selections, Solos, Marches, Quadrilles, Galops. <fec„ and sing Songs and Choruses in a most ofloctivo manner, and to whom Dr. Mark gives 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, Theorotical j-Dr. Mark.

and Practical Instrumental and Vocal Classes .. . * .. J Master of the General Educational Department:\ «lr pow-Elr

Writing,Reading, Arithmetic, Grammar, Dict-ition, ( nn'dTwo

History, Geography, Practical Geometry, and Book- j Assistant Teachers.


Organ' Mr. Baker.

r- ,„,„,.,, (HerrSlEMERS.

Pianoforte | Mr. Elder.

Vi„h„ J Mous Rocuier.

ViolIn1 Mr. Beard.

Violoncello, Double Bass, and Viola { M??t\ DoS?TM!*

Flute, Piccolo, Oboe, and Clarionet Sitf. Cortkbi.

Comet and other Brass Instruments Mr. H. Russell.

Concertina (Gorman and English) Mr. Elder.

Vocal Classes { ^""exe?*

Dr. Mark has also made provision for the Orphans of the Musical Profession possessing musical talent, who wilt find the shore institution a happy home, and receive a most effectixegeneral and musical education,.board, and clothing, free of all expense.

Little Boys, from fivo to nine years of age, apprenticed for three, five, or soven vears by paying a moderate entrance feo to cover the expenses of instrument and books.

Twelve appointments ready for Masters. For Prospectuses, apply direct to tho Royal College of Music, ~Bri<Ige-strect, Manchester.

Dr. Mark is also open to Engagements with his Little Men.

Dr. MARK begs to invito"the Parents and Friends, and all those interested in his Enterprise and in the Education of tho Youths 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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POSTHUMOUS QUARTET, In F Major, No. 17 .. .. Beethoven.
M. Sainton, Herr Ries, Mr. Doylo, and Slgnor Piatti.

SONG, "FrUhlingslicd" Mendelssohn.

Mrs. Sims Recvos.

SONG, "Deeper and deepor still" HandeL

Mr. Sims Reeves.

SONG, ".Night" MondeUaonn,

Madame Sainton-Dolby.

SONG, "Adelaido" Beethoven.

Mr. Sims Reeves.
SONATA, in P. Major Mozart.

Miss Arabella Goddard.


SONATA, in E flat, Major, Pirmoforto and Violin .. Dussek.

Miss Arabella Goddard and M. Sainton. SONG, "Falsa friend, wilt thou smile or weep ? (Cenoi) J. W. Davison. Madame Sainton-Dolby.

SONG, " Dalla sua paco" Mozart.

Mr. Sims Reeves.
DUET, "Pray leave mo but a momeut" .. .. Bpohr.
Mrs. Sims Reeves and Madame Sainton-Dolby.

BONG, "The Stolen Kiss" Beethoven.

Mr. Sims Reeves.

QUARTET, In E flat. No. 4 Rossini.

M. Sainton, Hcrr Ries, Mr. Doyle, and Signor Piatti.


Stalls, 10s, 6d. and 5s. ; Balcony, 3s. ;Unreserved Seats, Is.—Tickets to be had of Mr. Austin, at the Hall. 28, Piccadilly; Messrs. Cramer andCo., Hammond, Addison, and Co., Scliott and Co., Ewor and Co., Simpson, Carter, and Oetzmanu and Co., Rcgenr-street; Brooks, 24, Old Cavendish-street; Bradberry's London Crystal Palace, Oxford-street; Duff and Co., 65, Oxford-Btreet; Prowse, Hanway-street; Chidlcy, 195, High Holborn; Purday, 50, St. Paul's Cimich-yard; Keith, Prowse, and Co., 48, Cheapside; Turner, 19, Coruhill; Cook aud Co., 6, Finsbiiry-placo. south; Humfrcss, 4, Old Cliurch street, Paddington-green; Mitchell, Leader and Co., Ollivier, Campbell, and Willis, Bond-street; and Chappdl and Co., 50, New Bond-street.

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