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salice," given to absolute perfection, was encored in a tumult of applause. In the first scene (Rossini having written no cavatina) Madame Borghi-Mamo interpolated "O quante lagrima" from La Donna del Lago-Malcolm Græme's air-and sang it with extraordinary fluency. This air, originally written for a contralto, was rearranged by the composer for Pasta, when she first appeared as Desdemona in Paris. To conclude-Madame Borghi-Mamo's success was triumphant and the audience enthusiastic.

Signor Mongini's Otello is admirable from every point of view. He sings the music with immense vigour, and gives a striking histrionic embodiment of the Moor. Not to descend to particulars, we would select the scene with Iago, in which the duet "Non m'inganno," occurs, and the whole of the last act, as worthy very high praise. The quick movement of the duet, as a matter of course, was encored, Signor Mongini giving it with an energy that nothing could resist.

Signor Everardi sang the music of Iago like a thorough artist, and has added to his reputation by this second essay. His ease and facility permit him to execute the florid passages without effort. His acting, if not subtle, like Ronconi's, was manly and straightforward. The encore awarded to the duet in the second act owed much of the honour to Signor Everardi.

Signor Vialetti was an excellent Elmiro, and Signor Belart most effective, as far as singing went, in Rodrigo.

The band and chorus, under the direction of Mr. Benedict, were highly efficient throughout the opera.

ROYAL ITALIAN OPERA.

THE first appearance of Mad. Csillag, in Fidelio, on Thursday, if it did not attract a large assemblage of "fashionables," brought together all the real lovers of music in London, anxious not only to welcome a new Leonora-so difficult to find at all times-but to hear Beethoven's wondrous music executed by the Royal Italian Opera band and chorus, under Mr. Costa's direction. The great reputation of Mad. Csillag at the Imperial Theatre of Vienna was not unknown in England. Moreover, last year she appeared at the Grand-Opéra of Paris as Fides in the Prophète, but her success was somewhat marred by her nonfamiliarity with the French language. Nevertheless, enough was shown in her impersonation of Fides to prove the possession of remarkable gifts, both vocal and histrionic; while many asserted that Mad. Csillag had yet to be fairly judged. The single performance of Mad. Csillag last season at the Philharmonic, although highly satisfactory, could not decide for or against the immense dramatic powers with which she had been credited. Mad. Csillag's dramatic singing belongs to the grandest school. Her voice is of great power and compass, metallic and resonant, and of that peculiar Teutonic quality so effective in the utterance of strong emotions. It is a magnificent, rather than a beautiful organ, and consequently well fitted for the music of Leonora. On certain notes Mad. Czillag has more power than any singer we remember except Malibran; and in some other respects indeed resembles that extraordinary artist, however wide apart their general capabilities. As a singer, Mad. Csillag, like most Germans, is more attentive to outline than detail, and produces her effects by bold strokes rather than fine touches of art. Where passion invokes physical force to its aid she is invariably triumphant. In tender passages, too, Mad. Csillag hardly appears to less advantage. In what may be called "abstract singing," she is less successful. Her voice does not appear to possess remarkable flexibility-scarcely to be wondered at, considering the school to which she belongs. As an actress, Mad. Csillag is perhaps even more finished than as a singer. She has studied her art deeply, and possesses all the intelligence to enable her to attain the highest results. Her energy and fire are irresistible, her instincts always correct, and her expression admirably true. We are not going to criticise Mad. Csillag's performance in detail, but shall take an early opportunity of discussing at length her very remarkable talents, of which, perhaps, we may be better enabled to form a true estimate with further experience. About her success there can be no second opinion. The audience, unusually cold at first, gradually recognised the presence of a great artist, and after the quartet

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(canon) in the first scene-which, by the way, strange to say, for the first time, passed without a hand-applauded all her efforts, and at the conclusion recalled her twice with enthusiasm. The cast, in the other parts, comprised Mdlle. Corbari in Marcellina; Signor Neri-Baraldi in Florestan; Signor Tagliafico, Pizarro; M. Zelger, Rocco; and Signor Luchasi, Jacquino. The weak point was the tenor. Mdlle. Corbari, who made her first appearance for several years, sang the music of Marcellina with the utmost expression as well as artistic correctness. This clever lady's return to her old post will cause general satisfaction among the patrons of the Royal Italian Opera.

The band and chorus were splendid throughout, and the grand final hymn, as it is called, was never given with more powerful effect. The opera was preceded by the overture to Fidelio, in E (taken at an unprecedentedly rapid pace), and between the acts the grand Leonora overture (in C) was played magnificently, created a perfect furor, and was encored with acclamations. Fidelio will be repeated to-night and on Thursday, and on Tuesday Madame Grisi makes her first appearance, with Signor Mario, in La Favorita.

NEW PHILHARMONIC CONCERTS.

THE third concert took place on Monday evening, in the presence of an audience that filled St. James's Hall in every part. The following was the programme :—

PART I.-Overture (Coriolan), Beethoven. Recit ed aria, "Che farò" (Orfeo), Gluck. Aria, "Della sua pace" (Don Giovanni), Mozart. Symphony, "The power of sound," Spohr. Chorus, (Eury anthe), Weber. Duet, "Ciel! che veggio" (Lucrezia Borgia), Donizetti. Overture, (Midsummer Night's Dream), Mendelssohn.

PART II.-Concerto for pianoforte and orchestra, in E flat, Beethoven. Aria, "Ecco ridente" (Il Barbiere), Rossini. Aria, "Il mio ben" (Nina), Paisiello. Overture (Ruy Blas), Mendelssohn. Conductor-Dr. Wylde.

A finer selection could hardly have been made, although for one of Mendelssohn's overtures-although both are incomparable masterpieces-an overture by some other composer should have been given. Indeed the orchestral prelude to Mr. Howard Glover's cantata, Comala, had been announced, but was abandoned for reasons not explained. Beethoven's Coriolanus, and Mendelssohn's Ruy Blas was both splendidly executed; but the overture to A Midsummer Night's Dream wanted more subtle discrimination of light and shade; and the wonderful colouring with which the composer depicts the frolics of the fairy troop, and the fantasia of Bottom and his companions, might have been presented with greater distinctness, both to the ear and to the intelligence. Spohr's symphony, however, was a triumphant success for the conductor and his band, the slow movement more especially being executed with faultless precision throughout.

In Beethoven's Concerto Mr. John F. Barnett made his final first appearance for two years. During his absence, we are informed, he has been travelling through Germany, giving concerts occasionally, and, as we are enabled to judge from his playing on Monday evening, studying and practising with zeal and determination. Mr. Barnett has made great progress, particularly in his execution, which, when we last heard him, was by no means finished. He has obtained, too, increased strength and elasticity of finger and consequently a more uniform command of the instrument. That he has yet something to learn, however, appeared from his reading of the adagio, which left much to desire both in style and expression. Mr. Barnett's performance was received with enthusiasm, and he was unanimously recalled at the end.

At the commencement of the chorus from Euryanthe the singers were unsteady, but improved as they progressed. Mdlle. Vaneri, from Her Majesty's Theatre, sang Gluck's splendid air transposed and "adapted” (!) by M. Duprez, the great French ex-tenor and professor-with considerable energy, winning loud applause. We have heard Signor Belart-also from Her Majesty's Theatre -give the air from the Barbiere with greater fluency. The song from Don Giovanni hardly suits this purely Rossinian tenor. The duet from Lucrezia Borgia was altogether out of place.

AMATEUR MUSICAL SOCIETY. THE sixth concert took place on Monday evening, at the Hanover-square Rooms, and was very fully attended. The programme was varied in character, as the following will

show:

PART I.-Symphony, in D major, Op. 7 (No. 5), Mozart. Couplets de la Bourbonnaise (Manon Lescaut), Mdile. Euphrosyne Parepa, Auber. Introduction, Tema et Variations (Le Petit Tambour), violin, Mr. Irving Rougement, F. David. Aria, "Quando le sere al placido" (Luisa Miller), Mr. Walbanck, Verdi. Concerto in D minor for the Pianoforte (pianoforte, Miss Cazaly), Mendelssohn.

PART II.-Overture (Le Domino Noir), Auber. Ballad, "Janet's Bridal," Malle. Euphrosyne Parepa, Claribel. Morceau de Concert, "La Cascade," pianoforte, Miss Cazaly, E. Pauer. Song, "The maid I love," Mr. Walbanck, J. L. Hatton. Overture (Fidelio),

Beethoven.

Conductor-Mr. Henry Leslie.

The orchestral performances were excellent, the concerto of Mendelssohn being particularly well accompanied. Miss Cazaly's playing of this magnificent work gave evidence of great improvemeut since we last heard her. She has all the requisites of a good pianist-power, delicacy, sentiment, and dash, and it will be quite her own fault if she does not take an important position. Her reading of the beautiful slow movement was unexceptionable. Mr. Rougement deserves honourable mention for his execution of David's solo, and the warm applause he received at the termination was fairly earned.

Mdile. Parepa delighted the audience with her brilliant execution, and was encored in the air of Auber.

Mr. Walbanck, a new comer, has a good tenor voice, and not a bad style, though we must take exception to his occasional exaggeration of sentiment.

The next concert will be given on Monday, April 30th, when Madame Piatti is to appear as pianist.

PROVINCIAL

BIRMINGHAM (From a Correspondent).-On Thursday evening last, a performance of the Messiah was given at the Town Hall for the benefit of the School Building Fund, in connection with St. Andrew's Church. The executants were Mr. and Mrs. Sims Reeves, Miss Banks, Miss Palmer, Mr. Newman, and Mr.Thomas, whose valuable aid was gratuitously accorded. The band comprised the leading professionals and amateurs of the town and neighbourhood, who also contributed their services without emolument. Mr. Stockley conducted, and Mr. Stimpson did excellent service at the organ. The hall was crowded in every part, and we are happy to add that the objects of the projectors of the concert were fully realised, as upwards of £200 was obtained for the building fund. The choruses were fairly rendered by the Festival Choral Society.

LIVERPOOL (From our Own Correspondent).-After an unusually long lull our musical season has at last begun. We have had the Pyne and Harrison Company at the Theatre, Royal; our Philharmonic Society gave their Fourth Subscription Concert on Tuesday night; and at the Concert Hall there are Buckley's Serenaders (fresh from New York); and at the Clayton, the Campbell Serenaders or Minstrels, who are, I believe well known in the Metropolis. The Pyne and Harrison Company, whose engagement terminates on Friday next, have already played Dinorah and Lurline twice, for the first time in Liverpool. Mr. Leslie's Romance was also introduced to our dilletanti on Wednesday, in company with Mendelssohn's Son and Stranger, and, except on this latter night, the houses have been full to overflowing, though the company have sadly missed the exquisite singing of Mr. Santley, a Liverpool man, and naturally a deserved favourite with his townsmen. Alfred Mellon's Victorine is to be given to-morrow (Friday) night, and as the talented composer is well known and appreciated in Liverpool, his coup d'essai is sure of a most favourable hearing by a crowded and fashionable audience. Owing to indisposion I have been unable to attend either the operatic performances or the Philharmonic concert; but I send you the critiques which have appeared in our local Daily Post. The party who sang at the Philharmonic

on Tuesday give a morning concert in the same locale on Saturday.

FALKIRK (From a Correspondent).—Mr. Morison Kyle's concert came off last night in the Corn Exchange. All who appreciate first-class music and first-rate singers, embraced the opportunity of enjoying one of the most refined musical performances ever given in Falkirk. Madame Florence Lancia, a singer of continental reputation, and Mr. Augustus Braham, were the vocalists. Miss Lancia, unlike others of her class, pre-eminently excels where acting is not required, and she has only to make her voice heard to give universal satisfaction. It is not too much to say that her voice is adequate to the severest tests, and that, true as the finest toned instrument, it is capable of sustaining every conceivable variety of expression. We have no hesitation in saying that a bright future is in store for such talents as Miss Lancia possesses. Of Mr. Braham we need say little lest we should say too much. His fame is already so well established that it does not require any effort on our part to add to its brilliancy. Miss Leng is rather a pleasing contralto, but we think she is scarcely heard to advantage in a large hall. There is no want of expression of fervour, but this seems to assume at times the character of a shake disagreeable than otherwise. She sings an excellent second, and could she but dispense with the little drawback we have named, her merits would be considerably enhanced. Mr. Seguin was well received. He has an excellent bass voice, and can make himself heard with effect. Of Mr. Julian Adams' performances we had occasion to speak lately in terms of high praise, and it is enough to repeat that his solos on the pianoforte and concertina gave as usual the greatest satisfaction. The entertainment, as we have already said, was of the very highest class, and the thanks of the music-loving portion of the community are due to Mr. Kyle for his successful endeavours to introduce them to a more elevated and refined musical sentiment than they have hitherto been privileged to hear or admire. -The Falkirk Herald, April 12th, 1860.

FOREIGN.

VIENNA.-M. Leopold de Meyer gave his second concert, a few days ago, in the small Redouten-Saal, which was filled by an audience as brilliant as it was numerous. M. de Meyer is one of those few artists whose rich fancy is constantly producing fresh works. This rare quality places him in the agreeable position of always being able to offer his friends and the admirers of his talent some novelty or other. If, to this great facility of production, we add the undisputed mastery of his play, the surprising bravura of his magnificent manual skill, and the elegance as well as delicacy of his style, it is easy to form an idea of the charm which his concerts possess for the art-loving public. Of the new pieces presented to us on this occasion by M. de Meyer, we must more especially mention, "Ein Alpenlied," containing the most charming effects; a grand fantasia on themes from Le Pardon de Ploërmel, and a grand duet-in which he was assisted by Mdlle. Fiby-on themes from Il Trovatore. These pieces gained for him, in his double character of composer and virtuoso, the most rapturous applause and repeated recalls. The "Fantasia-Polka," Ein Kinddes Glücks, introduced to our notice at the first concert, also excited the warmest approbation, the composer being obliged, in obedience to the flattering pertinacity of the audience, to repeat it. The beautiful introduction with which M. de Meyer ushered in the piece on repeating it, was especially liked. After M. de Meyer, Mdlle. Fiby rivetted the attention of the audience, and deservedly came in for her share of the applause and the results, both by her charming personal appearance, and her finished, temperate and feeling play. That highly gifted and talented vocalist, Madlle Frankenberg, distinguished herself no less. Her fine, powerful and fresh voice, to which she imparts such life and impression, will, doubtless, soon win a fitting sphere of action on the stage. The concert was honoured by the presence of their Imperial Highnesses, the Archduchess Sophie and the Archduke Ludwig-Victor.-Vienna Presse.

BRUSSELS.-The Théâtre de la Monnaie is oscillating, as far as

LURLINE,

novelty is concerned, between Le Pardon de Ploërmel and
Gustave III., while M. Maillart's Dragons de Villars and Verdi's
Ernani are being got up. These two operas will be preceded
by M. Burgmuller's Péri. This ballet, represented here for the
first time on the 12th December, 1844, was warmly applauded for Cornet and Pianoforte, on airs from Wallace's Lurilne, price 3s. 6d. each.
on its revival. An Italian company, under the direction of M.
Eugenio Meressilos, begun a series of performances in the
Théâtre du Cirque. Their first opera was Lucrezia Borgia. Violin by Nava, price 1s. 6d.
On Easter Sunday, Mozart's seventh mass in G, and motets by
the great masters, were admirably executed at Saint Gudule, by
a numerous body of picked singers and instrumentalists.

FOR VARIOUS INSTRUMENTS
(Just Published).

CHAPPELL'S OPERATIC SELECTIONS by W. Winterbottom. Nos. 1, and 2

BECHER'S TWO FANTASIAS, for Violin and Pianoforte, from Lurline. Bril liant and not difficult, price 3s. 6d. each.

MOZART-CHILD AND MAN.
(Continued from page 195, Vol. 38.)

82.

Wolfgang Mozart to his Sister.

Bologna, September 22nd, 1770.

I hope that our mother is well, as also yourself; and I desire that for the future you will answer my letters more regularly, for it is easier to answer than to find things to say of one's own.

The six minuets of Haydn please me more than the first twelve. We have been obliged to play them very often to the Countess, and we should like to introduce the taste for German minuets into Italy, for their, minuets will soon become as long as entire symphonies. Forgive me for writing so badly; I am in haste, otherwise I am capable of doing better.

83.

Mozart to his Wife.

Bologna, Sept. 29th, 1770.
We are extremely sorry to hear such bad news of our good Martha.
I pray God to strengthen her. But what is to be done? We think of
her all the day long.

Wolfgang has commenced to-day the recitatives of his opera.
P.S. of Wolfgang.-I will add a few words just to fill up the letter.
I pity poor Martha with all my heart, ill for so long a time and yet so
patient. I trust, with God's help, she will recover her health; if not,
one must not grieve too much, because God's will is always best, and
God knows better than us, whether it is best for her to stay in this
world or to go to the other one; let her cheer up then, but who knows
but that she may suddenly see the same change for fine weather.

84.

The Same to the Same.

Bologna, Oct. 6th, 1770.

We have been in town for five days; we were at the fête of St. Petronius, which is celebrated magnificently here in the immense church dedicated to this saint. A musical service is got up, in which all the musicians in Bologna take part. We ought to have left here on Tuesday for Milan; but there is something here which will detain us. It is "something," if it comes to pass, will do great honour to Wolfgang.

The father, Martini, has received the method for violin that you sent him; we are the best friends in the world. He has finished the second part of his work; I shall bring back the two parts. We go every day to see him, and have long dissertations historico-musical. So you have had three concerts, and have not invited us! Very well. We should have appeared like phantoms, and vanished in the same style.

P.S. from Wolfgang.-Why was I not with you, to amuse myself with you! I hope Martha is better. I played the organ to-day at the Dominicans; my remembrances to all the small Theresas.* To all our friends inside the house, and out of it, my compliments. I should like to hear the symphonies of the Berehl Garden and contribute my quota of trumpet and fife. I saw and heard the grand ceremony of Saint Petronius at Bologna. It was fine, but long; they were obliged to bring trumpets from Lucca to play flourishes, but they played in an abominable manner.

The 15th October, St. Theresa's day.
(To be continued.)

ADVERTISEMENTS.

NEW SONG Fotisone, composed by J. L. ilatton, price 2s. 6d. Pub

FOR THE VOLUNTEERS.-" The Good

shed this day by Boosey and Sons, Holles-street.

Just Published.

LARGHETTO CANTABILLE and ALLEGRO

CAPRICCIO, for the Pianoforte, dedicated to his esteemed friend Wm. Sternale Bennett, Mus. Prof. Cantab., by George Forbes. Leader and Cock, 62, New Bond-street.

RICHARDSON'S FANTASIA for Flute and Pianoforte, on Lurline, price 3s. 6d.
All the Favovrite airs from LURLINE and VICTORINE, arranged for the
Ditto ditto for the Flute, price 1s. 61.

Ditto ditto for the Cornet, price 1s. 6d.

In the Press. Arrangements from Lurline, for Harmonium and Harmonium and Pianoforte, by Rimbault and Engel. Chappell and Co., 50, New Bond-street.

CHAPPELL'S BRASS BAND JOURNAL,

for large or small bands, especially adapted for Rifle Corps and amateur bands.
Edited and arranged by Winterbottom.

Subscription £3 3s. per annum,-1 number each month.
No. 1 contains a variety of Music; steps, marches, &c.

No. 2, A selection from Lucrezia Borgia.

No. 3, Ditto from Lurline.

50, New Bond-street.

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CHAPPELL AND CO., 49 and 50, New Bond-street.

MORNING SERVICE, consisting of Venite, Te Deum, and Jubilate, in German Score, with Organ Accompaniment; Introductor. Remarks on Liturgial Music, and a Supplementary Essay on Music as a language, by the Rev. Edward Young, M.A.

"Most true devotional feeling, and refined musical taste."-Clifton Chronicle. "The strain is devotional, and the harmonies, full, solemu, and massive.”— Bristol Times, pp. 112.

Prayer book size, 18.; Organ size. 2s. 6d. ; orders addressed for the Rev. E Young; to the Printers, J. Wright & Co., Steam Press, Bristol. A remittance must in all cases accompany the order.

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JEW SONGS BY J. W. DAVISON, Rough wind

"Swifter far than Summer's flight," (sung by Miss Palmer at the Monday Popular Concerts);"False friend, wilt thou smile or weep," Beatrice's song in the Cenci, (sung by Madame Sainton-Dolby, at the Monday Popular Concerts, St. James's Hall); are published by Cramer, Beale and Co., 201, Regent street.

The above Songs form Nos. 1, 2, and 3, of Vocal Illustrations of Shelley. "Mr. Santley was encored in one of the thoroughly picturesque and poetical settings of Shelley, by Mr. J. W. Davison, mentioned a week or two since. song, Rough wind that moanest loud,' is a thoroughly good song."—Atheneum,

His

MESSRS. DUNCAN DAVISON & CO.'S

NEW

PUBLICATIONS.

VOCAL MUSIC.

"MERRY LITTLE MAUD," and "Under the Linden

TREE," composed expressly for Mr. Elliot Galer by W. Meyer Lutz, are published, price 2s. 6d. each, by Duncan Davison and Co., 244, Regent-street, W.

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RE THEY MEANT BUT TO DECEIVE ME,"
(On Kocka) Mazurka polonaise, sung with distinguished success by Herr
Reichardt, is published by Duncan Davison and Co., 244, Regent-street, W.
In the Press "Good Night," (Wiegenlied, cradle-song) composed and sung by
Herr Reichart, will be published in a few days, price 2s. 6d.

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"THE

IE REINDEER GALOP," by Louis Diehl, is just published, beautifully illustrated in colours, price 3s., by Duncan Davison and Co., 244, Regent-street, W., where may be obtained, price 2s.. "Yet ere I seek a distant shore," composed by L. Diehl, and sung with great success by Mr. George Perren.

"BELLA ADORATA," by Jules Brissac, Fantaisie

de Boudoir (on two favourite Italian airs), is just published, price 3s., by Duncan Davison and Co., 244, Regent-street, W., where the following compositions by Jules Brissac, may be obtained, "Bella Figlia" (Rigoletto), price 2s. 6d., and "Quando le sere" (Luisa Miller), price 3s.

HE SULIOTE WAR SONG," by Brinley Richards, "PENSEZ À MOI," révêrie by R. F. Harvey, is just

"THE

sung with distinguished success by Mr. Santley, is published, price 3., by Duncan Davison and Co., 244, Regent-street, W., where the following compositions of Mr. Brinley Richards may be obtained, "The blind man and summer," sung by Miss Palmer, price 2s. 6d.; "The harp of Wales," sung by Mr. Sims Reeves, price 2s. 6d. ; and "Ethel," romance for the pianoforte, price 2s.

"THE
"THE DEW-DROP AND THE ROSE," by G. A,
Osborne, is published, price 2s. 6d., by Duncan Davison and Co., 214,
Regent-street, W., where "Pauline," Nocturne, for the pianoforte, by G. A
Osborne, may be obtained, price 3s.

SYM

YMPATHY," by E. Aguilar, poetry by Ellis Bell, is just published, price 2s., by Duncan Davison and Co., 244, Regent

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street, W., where "Sunset Glow," Roverio, for the pianoforte, by E. Aguilar, POPULAR MUSIC OF THE OLDEN TIME.

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In Two Vols. Imp. 8vo., £2 8s.; or in 17 Parts, each 3s.

"The main body of the work consists of a mass of erudition, no less copious than well digested. Mr. Chappell's work is the only one of its kind."-Quarterly Review, July, '59. "This book does every credit to the patience, intelligence, and modesty of its author."-Athenæum, August 13th, '59.

"Not two, but twenty notices could be written of this excellent and carefully wrought book "-Athenaeum, August 20, '59.

"The book is indeed one which the ladies will delight in for its music, and graver readers for its curious learning."-Notes and Queries, July 9.

"The student of history, the antiquary, the reader for anusement, and the cultivated lover of sweet sounds, will come alike to Mr. Chappell's volumes in

TWO CHAMBER TRIOS, by Adolfo Ferrari, for Soprano, search of gratification for their several tastes, and will assuredly not come in vain."

Mezzo-Soprano, and Contralto.-No. 1, "Come, Sisters, let us dance and sing," price 2s. 6d.-No. 2, “Come, Fairies, come, the stars shine bright," 2s. 6d., are published by Duncan Davison and Co., 244, Regent-street, W., where may be obtained, Eight Ballads, by Adolfo Ferrari, price 2s. each.

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-Gentleman's Magazine, August, '57.

"In the limits of a short notice it is impossible to do justice to Mr. Chappell's volumes. They are full of pleasant matter for every class of reader."-Examiner, Sept. 17. Popular Music of the Olden Time,' one of the greatest and most valuable works which have ever issued from the English musical press."- Spectator, March 5, '59. "Antique specimens furnished by Mr. W. Chappell's invaluablo work on "There is an enormous amount of research in Mr. Chappell's book, yet no sign of labour; no heaviness whatever; but, on the contrary, the author gives the results of his studies briefly, smoothly, pleasantly as possible."-Morning Post,

HE MEADOW GATE," by G. B. Allen, is just Popular Music of the Olden Time."-Times, March, 31, '59.

published, price 2s. 6d., by Duncan Davison and Co., 244, Rogent-st., W.

WERT THOU MINE," by Frank Mori, composed Sept. 22.

expressly for, and sung by Mr. Sims Reeves with the greatest success, is published, price 2s. 6d., by Duncan Davison and Co., 244, Regentstreet, W.

"LEONORA," by Elizabeth Stirling, is published,

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price 2s., by Duncan Davison and Co., 244, Regent-street, W.

PRETTY ROSEBUD," by Julius Seligmann, (composed

for Herr Reichardt), is published with German and English words, price 2s., by Duncan Davison and Co., 244, Regent-street, W.

THREE FOUR-PART SONGS, by G. A. Macfarren, for

two tenors and two basses. No. 1, "The fairies' even song," price 2s.; No 2, "The world's festivals," price 3s.; No. 3, "The arrow and the song," price 2s. The above have been sung with great success by Mr. Henry Leslie's Choir, Mr. Benedict's Vocal Association, and the Polyhymuian Choir. London: Published by Duncan Davison and Co., 244, Regent-street, W., where may be Obtained the following vocal compositions of Mr. G. A. Macfarren, "Paquita," Price 2s. 6d., and "The thoughts of youth," poetry by Longfellow, price 28:

Mr. William Chappell's great collection of our national songs and ballads, is, in truth, an English classic, a standard work-distinguished not only as a vast storchouse of the treasures of genuine English music and song-but as a literary work of great learning and research, and so full of curious and interesting in

formation relative to the music, as well as the manners and customs of our ancestors,

may be regarded as a contribution not only to the history of

the history of England."-Daily News, Dec. 7, '58.

"An invaluable history of the early music of this country, the fruit of study, at

once patient and unwearying, and of investigation adequately learned and intelligent."-Morning Herald, Sept. 1, '56.

"We heartily recommend this important and admirable work to the attention, not of musical readers only, but of the whole public. It is full of interesting information, the result of great learning and deep research; while it is attractive from its pictures of society and manners among our ancestors, and from the exceedingly pleasant and animated style in which it is written."-Daily News, Oct. 11, '59.

"Mr. Chappell's collection is in all respects a remarkable work, one of those which an honest enthusiasm may, but a money-fee never can, produce."-Chambers's Journal, Oct. 23, '58.

CRAMER, BEALE AND CO., 201, REGENT STREET.

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48.

DUSSEK'S and WOELFFL'S PLUS ULTRA and NE PLUS ULTRA SONATAS ...

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Published by JOHN BOOSEY, of Castlebar-hill, in the parish of Ealing, in the County of Middlesex, at 28, Holles-street. Printed by WILLIAM Spencer Johnson, "Nassau Steam Press," 60, St. Martin's-lane, in the Parish of St. Martin-in-the-Fields, in the County of Middlesex,

Saturday, April 21, 1860.

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