gladdeth the eye and comforteth the heart. Ye know what Mr. E. T. Smith haa done for Her Majesty's Theatre?"

"Indeed do I," said Pantagruel, "he hath so adorned all the halls and ante-rooms, that the other ovening 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 Panurgo, "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 Thome the clown, pleasantly acknowledged as his father.''

"And mayhap, Thome was correct," observed Epistemon; "for it is hard to prove a negative, and in the next place our knowledge of Thome'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."

"IH be if I do 1" 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 J"

"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 haa 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 debut. 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 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 1 But we must not compare the charmingMdlle. 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, wo 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 como 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 ho intends to remain for the season.

Sio. 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 C; Weber's "Polacca Brillante ;",and some vocal pieces, sung by Miss Lindo. Mr. Aguilar was assisted by Herr J ansa 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 Stradclla with perfect taste. 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.

Sacked Harmonic Socikty.—The Grand Choral Meeting of the sixteen hundred members of the Loudon Division of the 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.

Mb. 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 moat 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 Fiatti, 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 sslectious the performance that afforded most unqualified satisfaction was Beethoven's " Adelaida," sung by Mr. Sims Reeves, accompanied on the piauoforte 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. Hattou'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 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. Macfarreu's cantata, May Da;/, were performed on Wednesday evening, under the direction of Mr. Uullah. The principal vocal performers in the former work were Mademoiselle Parepa, Miss Palmer, Mr. Wilbye Cooper, and Mr. Santley; while Miss

Fanny Rowland sang the solos in the cantata. The execution of both pieces were highly satisfactory, but only one accepted an "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. Georoe.—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.


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 "II balen" until it tires, instead of pleasing. He has voice and energy enough to do better things. The Ti-ovalore'w&B 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 eclat. La Traviata was the opera, and Madlle. Piccolomini, as Violetta, produced all the old effect on her admirers. Sig. MoDgini 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 Olello 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 dtUettanti 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 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 quaute lagrima" from La Donna del Lago—Malcolm Grteme's air—and sang it with extraordinary fluency. This air, originally written for a contralto, was rearranged by the composer for Tasta, when Bhe 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 lago, 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 lago 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 eflbrt. 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.


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-Opera of Paris as Fides in the Proph&te, 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 manyasserted 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 groat 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,mid 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, wo may bo 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

(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; SignorNeri-Baraldi in Florestan; SignorTagliafico, 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 artiBtic 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 <rverture to Fidelio, in E (taken at an uuprccedentedly rapid pace), and between the acts the graud 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.


Tub 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), Beelhoven. Rccit ed aria, "Che fard" (Orfeo), Gluck. Aria, "Delia sua pace" (Don Giovnnni), Mozart. Symphony, " The power of found," Spohr. Chorus, (Eurvant he), Weber. Duet, "Cicl! ehe vegs'io" (Lncrezia Borgia), Donizetti. Overture, (Midsummer Night's Dream), Mendelssohn.

Part II.—Concerto for pianoforlo and orchestra, in E flat, Beethoven. Aria, *'lieco ridente" (II Barbiere), Rossini. Aria, "II mio ben" (Nina), Paisiello. Overture (Ruy Bias), 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,C?o»i<j?a, had been announced,but was abandoned for reasons not explained. Beethoven's Coriolanus, and Mendelssohn's Ruy Zftaswasboth splendidly executed ; but the overture to A Midsummer Night's Dream wauted more subtle discrimination of light and shade; and the wonderful colouring with which tlio 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 baud, 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, jiarticularly.,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, w;hich 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 choru3 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 wss altogether out of place.

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

Part I.—Symphony, in D major, Op. 7 (No. 5), Mozart. Couplets de la Bourbonnaise (Marion Lescaut), Mdilo. Euplirosyne Purepa, Auber. Introduction, Tema et Variations (lie Petit Tumbour), violin, Mr. Irving Bougemetit, F. David. Aria, "Quando le sere al plaeido" (Luisa Miller), Mr. Walbanck, Verdi. Concerto iu D minor for the Pianoforte (pianoforte, Miss Cazaly), Mendelssohn.

PiET II.—Overture (Lo Domino Noir), Auber. Ballad, "Janet's Bridal," Mdlle. Euphrosyne Parepa, Claribe). Morcoau de Concert, "La Cascade," pianoforte, Miss Cazaly, E. Pauer. Song, "The maid I love," Mr. Walbanck, J. L. Hatton. Overture (Fidelio), Beethoven.'

Conductor—Mr. Ilenry Leslie.

The orchestral performances were excellent, the concerto of Mendelssohn being particularly well accompanied. Miss Cazaly's placing of this magnificent work gave evidence of great improvement Bince 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 au 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.

Mdlle. 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 had 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.


Birmingham(From aCorretpondent).—On Thursday evening last, a performance of the Messiah was given at the Town Hall fur the benefit of the School Building Fund, in connection with St. Audrew's Church. The executants were Mr. and Mrs. Sims Beeves, 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 axe 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, whoae engagement terminates on Friday next, have already played Dinorah and Lurline twice, for the first time in LiverP°°l- Mr. Leslie's Romance was also introduced to our dilletanti on Wednesday, in companywith 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 s'mging of Mr. Santley, a Liverpool man, and naturally a deserved favourite with his townsmen. Alfred Mellon's Victoria is to be given to-morrow (Friday) night, and as the talented composer is well known and appreciated in Liverpool, his coup fatai 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 Com 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.


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 Ploermel, and a grand duet—in which he was assisted by Mdlle. Fiby—on themes from II 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 Glifcks, 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 ThAltre de la Monnaie is oscillating, as far as novelty is concerned, between Le Pardon de Ploermel and Oustave 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 PSri. This ballet, represented here for the first time on the 12th December, 1844, was warmly applauded on its revival. An Italian company, under the direction of M. Eugenio Meressilos, begun a series of performances in the Theatre du Cirque. Their first opera was Lucrezia Borgia.— 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.

(Continued from page 195, Vol. 38.)

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 havo been obliged to play them very often to the Countess, and we should like to introduce tho taste for German minuets into Italy, for their minuets will soon become as long as entire symphonies. Forgive me for writing so badlyj I am in haste, otherwise I am capable of doing better.


Mozart to his Wife.

Bologna, Sept. 20th, 1770. We are extremely sorry to hear Buch bad news of our good Martha. I pray God to strengthen her. But what is to bo done? Wo 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 hor 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 tho other one; let her cheer up then, but who knows but that she may suddonly see the same change for lino weather.


The Same to the SaiAe.

Bologna, Oct. 6th, 1770.

We havo been in town for five days; we were at the lete of St. Petronius, which is celebrated magnificontly here in the immenso church dedicated to this saint. A musical Bcrviee is got up, in which all tho musicians in Bologna take part. We ought to have loft here on Tuesday for Milan j 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 tho method for violin that you sent him; we are the best friends in tho world. He has finished the second part of his work; I shall bring back the two parts. Wo go every day to see him, and have long dissertations historico-muBical.

So you have had three concerts, and havo not invited us! Very well. Wo should havo appeared like phantoms, and vanished in the Bame style.

P.S. from Wolfgang.—Why was I not with you, tt> amuse myself with you! I hope Martha is better. I played tho organ to-day at the Dominicans j my remembrances to all tho small Theresas.* To all our friends inside thahouse, and out of it, my compliments. I should like to hear the symphonies of the Berohl Garden and contribute my quota of trumpet and fife. I saw and hoard the grand ceremony of Siint Petronius at llologna. It was fino, but long; they were obliged to bring trumpets from Lucca to play flourishes, but they played in an nbominablo manner.

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


NEW SONG FOR THE VOLUNTEERS.—" The Good Old D.iyfl," P^triotio song, composed by J. L. Ilatton, price 2a. 6d. Pubshed thi-s day by Booaey and Bona, Hollea-rtroct.

Just Published.

LARGHETTO CANTABILLE and ALLEGRO OAPRICCIO. for tho Pianoforte, dedicated to hie esteemed friond Wm. Sternalo Bennett, Mus. Prof. Cantab., by George Forbes. Leader and Cock, «», Now Bond-street.


(Just Piiilislied).

CHAPPELL'8 OPERATIC SELECTIONS by W. Wintorbottom. Nos. 1, and 2 for Cornet and Pianoforte, on airs from Wallace's Lnrilne, price 3s. 6d each. •

BECHER a TWO FANTASIAS, for Violin and Pianoforte, from Lurliue. Bril' liant and not difficult, pricj 3s. 6d. each.

RICHARDSON'S FANTASIA for Flute and Pianoforte, onLurline, price 3s. 6d.

All the Favovrito airs from LURLINE and VICTORINE, arranged for tie Violin by Nava, price Is. 6d.

Ditto ditto for the Flute, price 1b, Cd.

Ditto ditto for the Cornet, price la. Cd.

In the Press. Arrangements from Lurline, for Harmonium and Harmonium and Pianoforte, by Rimbault and Bngal. Chappell and Co., M, New Bond-str«t


for large or small bands, especially adapted for Klflo Corps and amateur bauds.
Edited and arranged by Winterbottom.
Subscriptiou £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.


Price la. 6d. each.


CHAPPELL'S 100 DANCES, Including some of tho most popular -works of

BAS8 PART t.. Ditto.









CHAPPELL'S 100 POPULAR SONGS, with Guitar Accompaniment, in 2 Books.







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

\ MORNING SERVICE, consisting of Venite, Te Deum,

t \ and Jubilate, in German Scor>\ 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 refinod musical taste,"—Clifton Chronicle.

"The strain is devotional, and tho harmonics, full, Bolomu, ami massive.**— Bristol Timet, pp. 112.

Prayer book step, Is. ; Orfran size. 2b. 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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NEW SONGS BY J. W. DAVISON, "Rough wind thatmoauestloud," (sungby Mr. Santley at tho Monday Popular Concerts); "Swifter far thau Summer's flight," (sung by Miss Palmer at tho Monday P^oul.tfConcerts); "False friend, wiltthou smilo or weep," Beatrice'a song in the Ctuci, (sung by Madame Sainton-Dolby, at tho Monday Popular Conorts, St. James's Hall); are published by Cramer, Bealo and Co., 201, Regent street. Tho above Songs form Nos. 1, 2, and 3, of Vocal Illustrations of Shelley. "Mr. Santley was encored la one of tho thoroughly picturesque and poetical ■ettings of Shelley, by Mr. J. W. Davison, mentioned a week or two sine©. His song, 'Bough wind that meanest loud,' is a thoroughly good fcong,"—Athcnctum*

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