was encored, and applauded after its repetition even more than before. This successful result is doubly gratifying, because it encourages me to hope that I have not yet gone back as a composer; for I dare not trust unconditionally my own opinion, according to which this symphony is the best thing I have done in the way of orchestral music, partly because one is always fondest of one's youngest children, and partly because a man is only too unwilling to confess to himself that the creative power of his youth is on the decline.

Of the other concerts and musical performances we have attended, I cannot say much. The Italian Opera is, at present, altogether bad. We were so fearfully bored there, that, till now, we have been unabled to make up our minds to go there a second time. Among the singers, there was not a single one who distinguished himself. The band, conducted in the mode I have just described, is continually wavering, and you fear that it will break down every instant. The choruses are beneath criticism. Of the benefit concerts, the most interesting (but not on account of its goodness) for us was that given, at the Opera House, by Mad. Mara, who is seventy years of age. She had, probably, hoped that curiosity to hear once again as a matron a singer who had been admired here in her prime, forty years ago, would attract the English in large numbers to the theatre, and that she would once more, in her old age, make a great hit; but she was wofully mistaken. The house was empty, and, on account of the enormous expenses (the theatre alone costs 100 guineas), she will, in all probability, be something out of pocket. If, without being compelled to take such a step by the greatest want, she has, by thus appearing in public, rendered herself ridiculous, and damaged her wellmerited reputation, she richly deserves having been punished by the unfavourable result. If, however, it is true that, as it is here and there asserted, she lost all she possessed at the burning of Moscow, we must give all our sympathy to a poor old lady, who, at so advanced an age, has been compelled, for the sake of what she might get, to exhibit publicly the last remnant of her once so celebrated artistic capabilities. What was heard of the latter on the evening of the concert was far too little for anyone to form a judgment of her, and she escaped, probably, general ridicule only by causing it to be announced before she appeared that she was extremely hoarse and must crave the kind indulgence of the audience. Not merely has she scarcely any voice left, but everything she attempted on this unfortunate evening was so uncertain, out of tune, and even in such bad taste, that it was impossible to gather from it any idea of her former excellence.

The same evening two or three other things happened which could occur only in England. One of Cramer's pupils was to play Mozart's grand pianoforte concerto, with trumpets, kettle-drums, and a numerous band; it turned out, however, that the piano was so high, that none of the wind instruments could be employed. In any other city such a concerto would have been previously rehearsed, and then the tuner would have been able, between the rehearsal and the performance, to tune the instrument properly; here, however, this had not been done. I expected that the concerto would be entirely omitted, and that the pianist would substitute something else without accompaniment; not a bit of it; this piece, to which the wind-instruments are so essential, was played without them, the first oboe and first bassoon part being merely taken by a violin and a violoncello. How the tutti, especially, sounded in the large Opera House, you

may imagine. I did not observe, however, that anyone among the audience resented such a profanation of a magnificent masterpiece. Did they fancy, perhaps, it ought to be given in this way? Cramer, the violinist, performed in the second part a violin-concerto by Martini, which is, at least, 120 years old! It would be difficult to find anything in the world more wearisome! How a man can play such a thing in public is to me incomprehensible. If it were not done here, I do not think it would be done anywhere else. As a remarkable fact in London, it was not, therefore, without interest for me; I again felt, too, very vividly, that though in Martini's time there was vocal music, instrumental music has, at any rate, been created during the last fifty or sixty years by our heroes at Vienna. On the other hand, I heard, with the greatest pleasure, glees at several concerts, the so-called glees or four-part songs for male voices, of the same period. These are the only specimens of national music the English possess. There are some, especially by Webbe and Smith, which are really admirable. It is, by the way, impossible for such songs to be sung more perfectly than they are sung by Messrs. W. and C. Knyvett, Vaughan, and Bellamy. I never before met with such perfect equality of voice and such perfectly correct intonation. People here, however, do not seem to attach much value to these compositions, and I have always been looked at with astonishment when speaking in terms of ecstacy about them. Here, as well as elsewhere, a cavatina by Rossini is more certain to set the hands of the audience in motion.

At one of the last vocal concerts a Te Deum, by Graun, was sung. Scarcely, however, had the singers sung the first words, after the very long prelude, before all present rose, and remained standing as long as the piece lasted. This struck me as doubly ridiculous: in the first place because the English thus only pay the Almighty the same outward respect they pay the king-for, as is well known, "God save the King" is always listened to standing, whether the king be present or not; and in the second, because they regard as though belonging to the ritual of the church a piece of concert-music, which, just like all the others, is merely performed to afford artistic enjoyment to those present, who behave as though they were at church. The seriousness and gravity with which Englishmen observe the frequently absurd rules of etiquette always strike me as exceedingly comical, and I can scarcely reconcile such conduct with the intelligence and love of freedom of which they boast.

I have received from Berlin the intelligence that the vacant post of Capellmeister will not be filled up. I have, therefore, no reason for keeping my opera back any longer, and beg you, therefore, to have the kindness to forward the score and libretto, together with the enclosed letter, by the first post, to Count Brühl.

During the magnificent spring weather, we have commenced making excursions in and about London, to see whatever is worth seeing. Last Sunday, for instance, we went to Richmond, which is situated 13 English miles off, in a perfect paradise. I cannot describe to you how delightful it was to see the first green and the first blossoms on the trees, and once again to breathe the pure air without the unsupportable coal smoke. But this merely caused our chests to suffer more acutely as we approached the large mass of stone. Town is growing more lively every day, and the winter season will now at length begin with the blossoms on the trees. Is it possible to meet with greater contradictions than in London ?

In my next letter, I will describe to you how music is

Theatre, in the year 1850, under the direction of Mr. Balfe, when the Grand National Concerts were got up (by a committee of noblemen and gentlemen) in opposition to the late M. Jullien-a fruitless opposition, as the complete failure of the undertaking showed. The symphony was also played (under Mr. Benedict) at the Norwich Festival of 1857; but on no other occasion has it been heard in England.

The idea of giving The Seasons no doubt originated in a wish on the part of the directors of the Philharmonic Society to pay a tribute of respect to the memory of the great musician whose death occurred in the interval between their last and forthcoming series of concerts. No foreign composer, not Mendelssohn himself, was better known, or more highly respected, by the patrons of this long-established and firmly-rooted institution, than Spohr; and it was therefore politic, no less than decorous, to commence the first concert with a performance of one of his great orchestral works. The Sacred Harmonic Society gave the oratorio of The Last Judgment, with a similar object in view, and to the credit of all concerned. The Monday Popular Concerts, and Mr. Manns at the Crystal Palace, followed the example set by the worthy amateurs at Exeter Hall. The Musical Society of London gave the Weihe der Töne, and Dr. Wylde introduced the same master-piece at his third concert at the St. James's Hall. It was natural that the Philharmonic Society should exhibit an equally earnest wish to do honour to the memory of so illustrious an artist*-one who had directed and played concertos at their performances, composed a symphony (in D minor, No. 2,) expressly for them, and even figured among the first fiddles in their orchestra. Whether The Seasons was the wisest choice that could have been made, is open to question, as also whether it would not have answered the purpose more legitimately had preference been given to the Symphony in D minor, which, besides being an eminently finer work, was written (as we have already hinted) for the Society's concerts, during Spohr's first visit to England. What the composer himself thought of this symphony may be gathered from one of his letters from London, addressed to his friend (and Beethoven's biographer) Herr Schindler-a translation of which will be found in another column of this week's impression.

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Since its origin the Philharmonic Society has not addressed the public with more solid or brighter prospects. The same distinguished musician who, since Herr Richard Wagner relinquished the conductor's stick, has held it with such credit to himself and such manifest advantage, retains his post, as Director of the Orchestra, having fully succeeded in convincing the public that it could not possibly be in better hands. The recent trial, in the Hanover-square Rooms, of orchestral works, all by English composers, indicated a spirit which, if encouraged, is likely to extinguish the narrow prejudices of the past, open a fresh career of enterprise, and enlist new friends, "in troops," for the institution. Of a certain moral support from outside, the Philharmonic Society has for some time stood in need; but it at present exhibits signs of awakening vigour; and this (if they do not turn out mere delusions, which we hardly anticipate) will be more likely than anything else to supply the want.

although it might be observed by some, I believe, that had it not have been for the wit of the talents of Mr. Thorne, they might not have been so, which eventually it happened to be, any opinion to the contrary notwithstanding. Indeed, when in this world, there is so little that is mirthful, which some philophers call a vale of tears, we can less afford to omit them from our scanty dimensions. At the same time I assert without fear of contradiction, which is perfectly correct, however foreign to the purpose, that has been attributed

"Heyday! hoity-toity! Flibbertigibbet and all the antipodes of the Saints !-what sort of tongue is this wherein thou discoursest?" shouted Pantagruel. "By the tripes which were so liberally eaten by Grandmother Gargamelle, I have never heard the like since I was born."

"Of a truth," said Epistemon, sadly, "I think he constructeth his sentences according to a grammar written by the builders of Babel."

John the Waiter simply scratched his head and said nothing, reckoning within himself the many curious and delectable things which had been heard at the Edinburgh Castle, since first that admirable tavern had been honoured with the custom of Pantagruel.

"There it is!" said Panurge. "The fable of the Man and the Ass. Try to please everybody, and nobody is content. A fico for him, who saith 'Do at Rome as the Romans do.' Henceforth, if I am in the Libyan desert I will have a taste for skating; and if I am in Greenland, I will inhabit a bungalow. One of you recommended me to form my style on that of the Theatrical Journal, and being of a docile and amiable turn, I purchased a number of that widely circulated periodical, which mightily enriched my mind' with an accurate and very copious account of the proceedings at the Cabinet Theatre, King's Cross, thereby enlarging not only my theatrical, but likewise my geographical erudition. But I paid most attention to the leading articles, with the view of improving my style, and now judge for yourselves whether I have not closely followed the manner of this eloquent essay on Mr. Creswick, choosing for the theme of my oration the performance of the dwarf, Jonathan Jack, now engaged at Astley's.

With these words, Panurge took out of his waistcoat pocket a wafer the size of a sixpence, and fastened to the mantel-piece the following extract from the Theatrical Journal, which all present read to their exceeding gratification and delight :—

"Of Mr. Creswick it may be said that he is one of a very few tragedians who, after their début, of late years has held the rank of leading tragedian, and, although this might very probably have not been the case had he not himself been the manager of the Surrey Theatre, the public are nevertheless very much gratified that it is so; for, as a tragedian, he is one we believe that none have any disposition to part with out of our shrunken catalogue. Upon his first appearance at the Princess's Theatre, Mr. Creswick made his talents apparent to the public, and more particularly to the critical portion of it. His success at this theatre was great. So may it be said of his engagement at the Haymarket, where he gained many admirers by his delicate and earnest At Sadler's Wells, too, although he portraiture of Romeo and Cassio. only held a third-rate position, he became a great favourite, and was justly acknowledged to possess the finest talents of the actor's art."

"Enough of the form of discourse," said Pantagruel, "expound to us the matter, whereof thou hast essayed to speak, and expound in thine own manner, vile and abominable as that manner may be."

"Learn then," said Panurge, "that Mr. Batty hath reopened Astleys, and it is decorated with a magnificence that

gladdeth the eye and comforteth the heart. Ye know what Mr. E. T. Smith has done for Her Majesty's Theatre?" "Indeed do I," said Pantagruel, "he hath so adorned all the halls and ante-rooms, that the other evening when I went to hear the opera, I was suddenly absorbed in the contemplation of the glories in the large saloon, and did not awake from my reverie till the performance was over."

Vases, fountains, statues, mirrors!" ejaculated Epistemon, "mirrors wherein I saw myself reflected again and again, till I fancied there were fifty Epistemons."

"May Mercury, the god of looking-glasses, be thanked that this was only an illusion," said Panurge, "for what would become of the world, if it was so hideously peopled? Well, something in the same spirit, though not to the same extent hath been done by that creator of beauty, Mr. Batty, with the old amphitheatre. Then the scenes on the stage-by my faith! there is a snowy landscape, under the influence of which the negus whereof I was drinking became a sherrycobler! But what pleased me most was a dwarf called Jonathan Jack, whom Thorne the clown, pleasantly acknowledged as his father."

"And mayhap, Thorne was correct," observed Epistemon; "for it is hard to prove a negative, and in the next place our knowledge of Thorne's pedigree is not sufficiently extensive to allow us to criticise with precision on matters so recondite."

"But wherein consisteth the merit of this same dwarf ?" asked Pantagruel. "I can see no virtue in mere smallness, and I strongly suspect that John here, if I gave him a fourpenny-bit, would not esteem it more than half-a-crown, simply on account of its puny dimensions." [John, bowing reverentially, acknowledged the soundness of this reasoning]. "Did the dwarf give any extraordinary manifestations of lofty intelligence or physical vigour ?"

"Just condescend to walk into the middle of the room, most honoured Master," said Panurge, and Pantagruel complied with his request.

"Now," proceeded Panurge, "throw thy feet up smartly before thee, and alight on the floor in a sitting position." This, also, did Pantagruel, coming down with such violence that all the glasses in the house were immediately smashed, and all the window-panes shivered, while a penny-a-liner in an adjoining public-house earned ninepence by forthwith writing a neat paragraph, headed, "Shock of an earthquake!" "Now," proceeded Panurge, with imperturbable gravity, "repeat that operation five or six times."

"I'll be if I do!" said Pantagruel, rising and rubbing the place that had touched the floor, with an aspect of considerable suffering. "Dost thou tempt me to commit suicide, villain! and that in an ignoble fashion unknown to the ancient Romans?"

"Observe," remarked Panurge, evading the question, "what thou hast just now done, to thine own great personal inconvenience, was done by Jonathan Jack, for some ten minutes together, without ceasing, and with a cheerful countenance.'

"I should surmise," conjectured Epistemon, "that if any malicious wretch threatened to kick Jonathan Jack, after the fashion in which kicks are commonly administered, he would lightly heed the menace.'

"And look you," said Pantagruel, from whose countenance the expression of pain had not yet disappeared, "I will go and see Jonathan Jack, and I will applaud him, and respect him, but I will not imitate him in his habits, neither will I adopt his conduct as a safe model for my rule of life.”

WE certainly live in a most amiable age, and its kind, charitable tendencies are in no way more strikingly illustrated than in the taste which now so generally prevails for giving and receiving testimonials. We read the other day in some newspaper an account of the manner in which Mr. Macready has been worried by having pieces of plate forwarded to him from all parts of the world, and we are assured that this eminent tragedian has packing-cases lying about his house, in which salvers, coffee-pots, tea services, &c., are supposed to be enclosed, but which he has not even thought it worth while to open. All are not so fortunate (nor so talented) as Mr. Macready, but almost everyone in the present day has had some sort of testimonial offered to him; and whether it be a tooth-pick or twenty thousand pounds a testimonial is a very pleasant thing to receive. For this reason we are glad to hear that a token of respect and admiration is about to be presented to Madlle. Piccolomini on the occasion of her retirement from the stage, which she quits in the fourth year of her reputation, and at an age when most vocalists are just seeking the chance of making their début. We cannot condole with a young lady who is going to be married, but we must express our regret, for the sake of the public, at an artist in the fulness of her powers quitting an arena in which it has been her fortune to charm thousands, and, indeed, to throw them into ecstasies, that, to the mere lover of music, have sometimes appeared inexplicable. We need not inquire too closely into the right of Mdlle. Piccolomini to have a testimonial presented to her. It always appeared to us, that for the encouragement of youth and beauty, young and beautiful women had a right to whatever they could get; compliments, jewelry, rich husbands-in short, anything and everything that happened to please their fancy. And we maintain now, that if the fascinating Mdlle. Piccolomini wishes for a testimonial, she must, for that simple reason, have one.

We believe, however, that the grounds on which the testimonial to Mdlle. Piccolomini is being "got up" are not precisely those just adduced by us. In England, as in other countries, nothing succeeds like success; and it is now a recognised principle among us, that to him or her who has much, much shall be given. If a singer were to lose her voice, or voice, or to meet with any accident that rendered it impossible for her to continue the exercise of her profession, the public would, of course, have no more to say to her; they have always plenty of sympathy, however, for those who have health, strength, reputation, and riches. It is in art as in commerce. How many, among the hundreds that subscribed to the Hudson testimonial, would have given a halfpenny to benefit a director who, in spite of his intelligence, and in consequence of his integrity, had failed to make money out of the company with which he was connected? But we must not compare the charming Mdlle. Piccolomini with the Turcarets and Dandins of finance. She deserves everything her admirers like to give her, and we hope the testimonial they are about to offer to her will be worthy of her talent and of their admiration. She merits it for at least as many reasons as there are letters in the alphabet; with an A because she is amiable, with a B because she is beautiful, and so on down to Z-which reminds us that no one has been more zealous in her endeavours to please.

In the meanwhile, if we were director of Her Majesty's Theatre, we should not encourage the testimonial-mania too much. Already we hear of literary and artistic associations having been formed with a view to the interchange of

testimonials among the members, and in time singers may come to regard them with so much favour that they will stipulate in their contracts for the presentation of a testimonial at the end of every season.

HERR LEOPOLD DE MEYER.-This accomplished virtuoso is expected daily in London, where he intends to remain for the

season.

SIG. RONCONI has arrived.

HERR LUBECK, the pianist, has returned to Paris.

MR. AGUILAR'S THIRD AND LAST PERFORMANCE OF CLASSICAL PIANOFORTE MUSIC took place on Saturday evening. The programme included Mozart's Sonata, in G, for piano and violin, op. 2, No. 5; Beethoven's Sonata, in B flat, op. 22; trio, in C minor, for piano, violin, and violoncello; Mendelssohn's Lied ohne Worte, No. 6, Book 6; Weber's Polacca Brillante ;" and some vocal pieces, sung by Miss Lindo. Mr. Aguilar was assisted by Herr Jansa as violinist, and Herr Lidel as violoncellist. The concert was a classical display throughout, and elicited repeated marks of satisfaction. Miss Lindo sang Mendelssohn's "Zuleika" and an air by Stradella with perfect taste. There There was a large and elegant company.

CRYSTAL PALACE.-A grand concert will be given in May or June, for the benefit of Mr. Vincent Wallace, to consist entirely of music taken from his works, vocal and instrumental.

SACRED HARMONIC SOCIETY.-The Grand Choral Meeting of Handel Festival Choir, preparatory to the grand performance of Elijah at the Crystal Palace, on May the 4th, was held last evening at Exeter Hall, under the direction of Mr. Costa. All the principal choruses of Mendelssohn's oratorio were rehearsed, and the effect was very grand from the stupendous choral force. MR. RICHARDSON'S CONCERT.-This came off on Thursday evening at St. James's Hall, and attracted a very large attendance. Mr. Richardson is still prevented by illness from performing in public, and the concert was got up by some of his friends, who had no difficulty in obtaining assistance from the most eminent artists. The following singers and instrumentalists gave their gratuitous services:-Mdlle. Parepa, Madame Weiss, Miss Palmer, Mr. Sims Reeves, Mr. Santley, Signor Belletti, Herr Becker, Signor Piatti, Herr Schroeder, and Miss Arabella Goddard. There were upwards of twenty pieces, so that it is impossible to do more than single out a few which seemed to afford most gratification. Perhaps among the vocal selections the performance that afforded most unqualified satisfaction was Beethoven's" Adelaida," sung by Mr. Sims Reeves, accompanied on the pianoforte by Miss Arabella Goddard. The word "perfect," indeed, might be fairly applied in this instance to both artists. Mr. Sims Reeves was encored in two English songs: Mr. Hatton's "I wandered by my dear one's door each night," and Mr. Balfe's Margaretta." Miss Arabella Goddard was encored in Mr. Benedict's solo for the pianoforte, "Where the bee sucks," and gave Thalberg's "The last Rose of Summer," in its place the one performance being, if possible, more marvellous than the other. The grandest performance of the evening, however, was Mendelssohn's trio in D minor, for pianoforte, violin, and violoncello, by Miss Arabella Goddard, Herr Becker, and Herr Schroeder-truly great music, worthily interpreted and thoroughly appreciated. Mdlle. Parepa was encored in the laughing song from Auber's Manon Lescaut, as was, also, Mr. Santley in the song from Dinorah, "Ah! now I feel the burthen." Mr. Cusins officiated as conductor.

the sixteen hundred members of the London Division of the

THE PHILHARMONIC SOCIETY OF ROUEN has elected Miss Virginia Gabriel "Socias honoraria,” or honorary member. We believe this is the first instance on record of a person in a distant country receiving this distinguished honour. Miss Gabriel is well known and esteemed in the musical world, and has published several works of the highest merit.

ST. MARTIN'S HALL.-Rossini's Stabat Mater, and Mr. Macfarren's cantata, May Day, were performed on Wednesday evening, under the direction of Mr. Hullah. The principal vocal performers in the former work were Mademoiselle Parepa, Miss Palmer, Mr. Wilbye Cooper, and Mr. Santley; while Miss

an

Fanny Rowland sang the solos in the cantata. The execution of both pieces were highly satisfactory, but only one accepted "encore" during the evening-namely, the unaccompanied quartet "Quando corpus morietur," from the Stabat Mater, Miss Fanny Rowland, however, in "Beautiful May" (May Day). which she sang to perfection, received the compliment, but gracefully declined to respond to it.

HARMONIUMS.- -An exhibition of Evans's harmoniums was given at Messrs. Hopkinson's rooms, in Commercial-street, on Monday and Tuesday last, before several professional men and amateurs of the town. Mr. J. Rhodes, of Pontefract, played several pieces, and exhibited to great advantage the beauties of a double-keyed harmonium, with all the latest improvements. One of the principal drawbacks to a general adoption of harmoniums in private dwellings, has been the harsh and unpleasant character of its tone; and we must congratulate Mr. Evans on having at last entirely obviated this defect. The instrument we heard on Monday is capable of producing a tone as sweet as the dulciana of any chamber-organ, or as full and solid as that required for a moderate-sized church or chapel. By a little management, the effects of a swell and tremulant can be obtained; whilst, in every other respect, it is superior to most of the small organs at present in use, and infinitely cheaper.Leeds Express.

MISS JULIA ST. GEORGE.-In consequence of the indisposition of Mrs. Howard Paul, an engagement has been effected with the above talented actress and vocalist, who will appear at the St. James's Hall, Piccadilly, in her " Home and Foreign Lyrics," every evening next week, and on Tuesday and Saturday mornings at 3 o'clock. Miss Julia St. George has been long popular as a comic actress, and, we have no doubt, her new and original entertainment, embracing nearly twenty changes of song and character, will meet with decided favour from the audiences of the West-end.

HER MAJESTY'S THEATRE.

THE first performance of the Trovatore on Saturday was one of the best we have heard. Signor Giuglini, it was said, had not entirely recovered from his indisposition, notwithstanding which we never heard him sing more exquisitely the phrase, "Ah! che la morte," in the "Miserere," and the duet with Azucena, "Si; la stanchezza." Mdlle. Titiens was more magnificent than ever in Leonora, and never created a profounder sensation than in the last act. The Azucena of Mad. BorghiMamo was powerfully conceived and powerfully acted. Her reading, though new, has more than novelty to recommend it. The music, which suits Madame Borghi-Mamo's voice, was admirably sung, and Alboni herself could hardly have surpassed her in the fine duet of the last act. The success of the new Azucena was undeniable, and the audience divided their favours between her and Leonora. Signor Aldighieri would do better as Conte di Luna, if his delivery was not so slow. He drags "Il balen" until it tires, instead of pleasing. He has voice and energy enough to do better things. The Trovatore was repeated on Tuesday, and attracted the largest audience of the season. On Wednesday, the first of the five farewell performances of Madlle. Piccolomini was given. The theatre was by no means crowded, but the performance, though coldly received at first, went off ultimately with éclat. La Traviata was the opera, and Madlle. Piccolomini, as Violetta, produced all the old effect on her admirers. Sig. Mongini sustained the part of Alfredo, vice Sig. Giuglini, and gave the air, "Di miei bollenti," with the finest possible taste. His acting was manly and natural. Sig. Aldighieri was the elder Germont.

Rossini's Otello was produced on Thursday-the first time at Her Majesty's Theatre for many years. The director having found a suitable tenore robusto in Signor Mongini led no doubt to the revival of that opera. Another motive, however, was to introduce Madame Borghi-Mamo in Desdemona, a part in which she had recently won the suffrages of all the dillettanti in Paris. Madame Borghi-Mamo did not disappoint expectation, singing magnificently throughout the opera and acting with great energy and feeling. The lovely air in the last scene, Assia a pie d'un

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