Manchester.—The annual oratorio, usually given at the Concert Hall, took place on Wednesday night, the composition chosen being the Creation of Haydn. There has been shown, of late years, a disposition on the part of certain critics to depreciate this beautiful music. Comparisons are made between Haydn and Handel, and between Haydn and Mendelssohn; but one thing is very certain, that so long as a taste exists for what is truly beautiful, in a simple form, so long will Haydn's oratorio hold its place. The directors of the Concert Hall showed much discrimination in their selection of the solo vocalists on this occasion. Madame Louisa Vinning essays everything, and every style. The music, however, of the Creation might have been written for her, so thoroughly does she enter into the spirit of the work. Mr. Cooper and Mr. Santley were the other vocalists. The band and chorus were excellent, and it may be added, that few representations of Haydn's Creation, in Manchester, have been more entirely satisfactory.

The Beale Tour.—Notwithstanding the contretemps, to which we need not allude, the touring party, under the management of Mr. Willert Beale, have met with that eminent success which invariably attended their progress in former seasons. They have already visited several towns in the provinces, and the impression they created may be gathered from the following account of their doings at Manchester, which we glean from one of the local journals :—

"Frbe-tbade Hall.—There has been no concert given in Manchester for many years past which has included a combination so varied in talent and novelty of character as that of Saturday evening last, at the Free-Trade Hall; and it was gratifying to find such enterprise so warmly appreciated, the applause, on more than one occasion, rising to enthusiasm. Sivori, the genius of the violin, received quite an ovation on presenting himself to the audience. Striking as aro all his accomplishments, he never lets you suppose for a moment that they are difficulties; he commands your attention rather with the music of his instrument than startles you with his skill, though the latter exceeds, perhaps, that of any other living violinist. Next to this talented player came the astounding Bottesini on the contra-basso, who was rapturously applauded in his solo, the people becoming wild with excitement, whilst the duet with Sivori could scarcely bo said to have been less fortunate in the pleasure it afforded. All who have listened to the very agreeable compositions of Mr. Brinley Richards, would bo glad to see him in suoh goodly company, and to find that he is a most accomplished pianist. He selected his own arrangement of 'Cujus animam,' and a clever original composition, entitled 'The bird and the rivulet,' in which imagination, as well as the imitative art, are called into requisition. The style and touch of Mr. Richards are elegant and brilliant, aod we shall be glad to hear him again. Herr Engel contrived to bring out the qualities of the harmonium with remarkable skill. The audience were much pleased with his 'Operatic airs.' The vocalists were all of high character. Mdlle. Corbari, with her rich voice and legitimate stylo, won considerable applause for Verdi's 'Sempro all'alba' (Oiovanna d'Arco), and most deservedly, for it was most ably rendered. It is some years since Madame Fiorentini visited Manchester; we feel disposed to think that her voice since that period has developed in volume, and found greater richness of tone. She gave the grand scena from Der Freischutz, the Italian version, and brought down, loud plaudits. Madame Badia, the third lady on the list, is a novelty in this country. The Brindisi, 'Viva la belle amanti!' is the composition of the husband of Madame Badia, and we venture to think will become a favourite morceav. We regret it was not repeated for the encore. All know the value of Herr Reicliardt in n concert room, and we have only to add that he sang his well-known and much-admired ballad, 'Thou art so near,' in a manner that delighted his auditors to the extent of a recall. The humour of Tagliafico is of the right order, and we never heard his voice tell so well as in the Free Trade Hall, where he sang for the first time. He gained a warm encore for Rossini's exquisite 'Tarantella.' The ensemble of the vocalists and instrumentalists in two or three pieces during the evening, and more particularly in the finale, 'Dal tuo stellate,' proved how much can be accomplished with first rate talent, however limited the group. Let us not overlook the ability of Mr. J. L. Hatton as conductor, nor refuse our thanks to him for adding to the pleasure of the evening by his facetious songs. The concert was a

great success, and the audience sufficiently large to show that good music is duly appreciated in Manchester."

Bristol.(From a Correspondent).— Mendelssohn's Elijah was given at the Clifton Victoria Booms, on Monday evening, the 26th inst., the principal vocalists being Mrs. P. J. Smith, Miss Julia Bleadon, Miss Dolby, Mr. W. Cooper, and Mr. Weiss; instrumentalists, Messrs. Blagrove, Reynolds, Nicholson, Hutchins, Mann, and T. Harper. The full band and chorus were supplied by the Clifton and Bristol Harmonic Society. The whole performance was most excellent, the choruses being rendered with an effect seldom surpassed, and Miss Dolby, Mr. Cooper, and Mr. Weiss, as usual, were admirable in their respective parts. One of the most interesting features of the performance was the execution of the principal soprano music, by Mrs. P. J. Smith, wife of the conductor, who acquitted herself in such a manner, as to command the hearty applause and elicit the highest enconiums from amateurs and professors. Her reading and general conception of the music allotted to the Widow were of the most appropriate character, while the vocal ability with which the great song, " Hear ye, Israel," was delivered, met with unanimous and marked encomium.

Bath.(From a Correspondent).—A grand performance of Handel's Judas Maccabwus was given at the Assembly Rooms, on Thursday evening; the principal vocalists being Madame Weiss, Miss Dolby, Mr. Sims Reeves, and Mr. Weiss. A good band, led by Mr. Blagrove, and a small but efficient chorus, under the direction of Mr. Bianchi Taylor, materially enhanced the well-going of the oratorio. The room was crowded to excess.

Leeds.—Exciting Scene At An Obatobio Pebfobmancb.—The Messiah has for many years past been given in this town on the Saturday evening nearest to Christmas Bay; and before our noble Town Hall was built, there was no room large enough to contain the thousands who were desirous of hearing that ever-fresh and glorious creation of Handel. Last year the annual performance was first given in tho Town Hall, which was comfortably filled by about 2,000 persons. Last Saturday, however, a scene occurred of the most exciting description, and one plainly indicating the immense popularity of the Messiah, and its Xorkshire interpreter, Mrs. Sunderland. During the week, a report was assiduously spread to the effect that Mrs. Sunderland (who was engaged for the Saturday performance) had died suddenly. This was discovered to be untrue; and it is thought that the report had its origin with some persons who had arranged an "opposition" performance of the Messiah on Wednesday. However this may be, the rumour re-acted in favour of the Christmas Eve oratorio, and coupled with the fact that the other artistes were our great English basso, Mr. Weiss, Mr. Wilbye Cooper, and Miss Crosaland, with Mr. Spark, the popular conductor, an immenso demand for tickets sprung up. The doors of the Town Hall were besieged for an hour before the time fixed for the opening, and the crowds extended across each street. Within a short time after tho audience were admitted not a seat could be obtained; and ultimately, not only every inch of ground, but even the pilasters around tho hall, the orchestra steps, and the organ recesses, were crowded with musicloving people. Still more room was required, and, to gain this, the doors at the south end of the hall were thrown open, and about two hundred persons were content to stand in tho vestibule, where, by the bye, tho effect of the choruses was truly magnificent. The number of persons crammed into the hall was no less than 3,300, being 1,300 more than were present at any of the grand festival performances, and at least 500 persons were unable to gain admission. Mrs. Sunderland and Mr. Weiss never sang better; and the choruses, rendered by the Leeds Madrigal Society's Concert Choir, aided by a few singers from Bradford, created immenso enthusiasm. Mr. Spark performed his work admirably; and the band, led by Mr. Broughton, contributed to ensure success throughout.

Windsor(From a Correspondent).—The second of the Concerts for the People took place on Tuesday evening week, at the Town Hall, like the previous one, under the patronage of Thomas Nixon, Esq., Mayor. Notwithstanding the exceedingly unfavourable state of the weather, the hall was agnin well filled—the middle of the room and the sixpenny seats being much crowded, while tho stall scats were occupied by a large and respectable audience. There were several improvements effected in the arrangements and details, foremost of which was the erection of a small platform for the performers. The instrumental part of the entertainment was also increased, being taken by Mr. Schreoder, of Her Majesty's private band, on tho violoncello, Mr. G. Pearson and Mr. Cnstard, pupils of Dr. Elvey, on the pianoforte. The vocalists were, Miss Ransford, Miss Louise Jarrett, Mr. Dyson, and Mr. I«mbert. The Binging of Miss Ransford is entitled to much praise. Mr. Schrosder's execution on the violoncello was one of the chief attractions of the evening; while both pianists acquitted themselves iu a highly creditable manner. Tho most attractive pieces of the evening were Adolph Adams' aria, "Love rules the palace;" the Scotch song, "Logie o' Buchan"—both of which were most spiritedly given by Miss Ransford; "The Village Blacksmith," and "All in the Bifle Corps," by Mr. Dyson; and tho buffo duet, "The A B C," by Miss Ransford and Mr. Lambert. Sir Henry Bishop's well-known trio. "Maiden fair, a word I pray," by Miss Runsford, Messrs. Dysou and Lambert; Lover's Irish song, " I'm not myself at all," and "The bashful man," by Mr. Lambert; the song of "The two cousins," by Miss Ransford and Miss Jarrett; and the ballad, "Ayoung Lady's No! by Miss Louise Jarrett, who accompanied herself on tho pianoforte, were more or less applauded. The whole concert passed off in a most satisfactory manner.

Edinburgh(From our own Correspondent).—Among tho recent musical doings to be chronicled, aro a series of four classical chamber concerts, which were given in the Freemasons' Hall under the direction of Mr. G. Hausmann. No better proof could bo given of the rapid advance in musical taste here, than the manner in which these concerts have been supported. The audiences were large and fashionable, and listened with the deepest interest to the admirable selections provided for them by Mr. Hausmann. At the first, among other pieces, were performed Quartet (Mozart), No. 1, in G, for two violins, viola, and v ioloncello; Quintet (Beethoven), in E flat, for two violins, two violas, and violoncello; and sonata for violin by Tartini, " La Trille du Diable." At the second, Quartet (Mendelssohn), in D, for two violins, viola, aud violoncello; Larghetto, for violoncello, by Mozart; Duetto, for two violins, by Spohr; Solo, violin, by Sainton; and Double Quartet, by Spohr, No. 3, in E minor. At tho third, Quartet, by Haydn, No. 78, in B flat, for two violins, viola, and violoncello; Adagio and Fugue, for violin, in G flat, S. Bach; Quartet (Schumann) for pianoforte, violin, viola, and violoncello; and arrangement, by Gounod, of quintet from Mozart's Cosi fan Tutte, for pianoforte, harmonium, violin, and violoncello; and Quartet (Beethoven), No. 9, in C, for two violins, viola, and violoncello; and at the fourth, Beethoven's Quartet in D, No. 3, Op. 18; Trio, for pianoforte, violin, and violoncello, by W. S. Bennett; Duo, byKummer, for violin and violoncello, "Sur Ovillaume Tell" and Quintet (Mozart), in G minor, for two violins, two violas, arid violoncello. Vocalist, Miss Witham, who sang "Vedrai Carino," "Die Post," by Schubert, and "Friihlingslied," by Mendelssohn. The talent engaged for these concerts was such as to cause tho rendering of the various morceaux to bo highly satisfactory. Tho violins were M. Sainton, Herr Carl Deichmann, Mr. William Howard, and Mr. Otto Boothe; Violas, Mr. R. B. Stewart and Mr. Taylor; Violoncellos, Mr. G. Hausmanu and Mr. F. Boothe; while Mrs. James Cotton and Mr. C. J. Hargitt officiated at the pianoforte. M. Sainton, who appeared at the Second Concert, was in splendid tone, and fully sustained hia great reputation. Herr Carl Dei:hinann, who played throughout the series, made his first appearance in Edinburgh, and created a most; favourable impression by his pure tone, his skilful execution and refined teste. His performance of Bach's Fugue, and his share in Spohr's Duet, won for him tho highest encomiums. Mr. Hausmann has added to his great popularity, not only by organising these delightful concerts, but by the way in which he sustained his part iu the performance. His playing of a Larglietto, by Mozart, was graceful and expressive. I cannot omit to mention tho excellent, though unobtrusive, viola playing of Mr. R. B. Stewart, whose services were invaluable.

Among other events have been the Matinee Muticale of Miss De Fabeck, a young pianist of much promise : and tho First Lecture— Recital of Mr. J. Thome Harris, which I was unfortunately prevented from attending. We have just had a performance of The May Queen, of which, more anon.

Tonbbidgb.Tonbridge School.—The seventh annual concert by the school choir, given on Tuesday last, was in every respect a most successful affair. Tho chief applause fell to Estridgo's solo, the duet by H. and R. Bird, and Neville's solo, in Part I.; and to Smith's and Nussey's solos, and "Como where my lovo lies dreaming," in Part II., all of which were encored; but we may also single out Horsley's "See the chariot at hand," and Stevens's glee, "Te spotted snakes," and the two pianoforte solos, as remarkably well done. Indeed, the whole concert went off in such a manner as to reflect the highest credit on Mr. Gilbert, the conduotor.


The third dramatic performance this season took place at Windsor Castle on Wednesday evening. The following was the programme:—

A Play, in Five Acts, by Mr. James Sheridan Knowles, entitled,

Master Walter Mr. Howe.

Sir Thomas Clifford Mr. W. Farren.

Lord Tinsel Mr. E. Villiers.

Master Wilford Mr. Braid.

Modus ... ... ... ... ... Mr. Buckstone.

Master Heartwoll ... ... Mr. Cullenford.

Gaylove Mr. Courtney.

Holdwell Mr. Wetten.

SimpBon ... Mr. Moyse.

Fathom ... ... ... Mr. Compton.

Thomas Mr. Clark.

Stephen ... Mr. Coe.

Williams ... ... ... Mr. Weathersby.

Waiter Mr. Hill.

Servant ... ... ... ... ... Mr. Lane.

Julia... ... ... ... ... ... Miss Amy Sedgwick.

Helen ... ... ... Miss Swanborougli.

Under the management of Mr. George Ellis; and under the direction of Mr. W. B. Donne, her Majesty's Examiner of Plays.

The theatre arranged aud the scenery painted by Mr. Thomas Grieve.

Shortly after eight o'clock the Queen and Prince Consort, with the Duchess of Kent, the Duchess of Cambridge, the Prince of Wales, Princess Alice, Prince Arthur, Princess Helena, Princess Louisa, Prince Leopold, attended by the Ladies and Gentlemen in Waiting, and accompanied by the dinner party, entered the theatre in St. George's Hall, when the performance immediately commenced.

The orchestra was composed of Her Majesty's Private Band,


At the seventh concert, on Monday evening, the instrumental pieces were by Mozart, and comprised his quartet in D minor (dedicated to Haydn), his quintet iu A for clarionet and stringed instruments, his great sonata, for pianoforte alone, in F, and his little sonata (quite as beautiful as the great), for piano with violin. Herr Becker led the quartet, joined Mr. Lindsay Sloper in the violin sonata, and played first fiddle in the quintet; in all, giving satisfactory proofs that the praise which has been awardca him was not undeserved. Mr. Lindsay Sloper played the solo sonata in that finished style for which he is noted; aud Mr. Lazarus executed the clarinet part in the quintet as only he eoald have executed it. The second violin, viola, and violoncello, were, as usual, in the hands of Herr Eies, Mr. Doyle, and Signor Piatti—in better hands they could hardly have been.

The vocal music comprised, among other things, Meyerbeer's delicious "Shepherd's Song," and Spohr's CO) less delicious "Bird and maiden," both with clarinet obbligato (Mr. Lazarus), the forme* sung by Mr. Sims Reeves, the latter by Madame Lemmens Sherrington, who. together, gave Rossini's chamber-duet. "Mira la bianca Luna." Madame Lemmens also introduced " Ombre lug^re," from Dinorah, while Mr. Sims Heeves repeated the " two lieder of Beethoven, "The Savoyard," and " The stolen kiss," which at a previous concert gained him so many laurels, and which, to judge from the enthusiastic encore bestowed upon the last named, lost nothing on more familiar acquaintance. Mr. Benedict accompanied the vocal music, and the audience, which filled St. James's Hall in every part, were evidently delighted with the whole entertainment.

Sacked Harmonic Society.—Last night Handel's oratorio, Samson, was performed, with Miss Banks, Miss Dolby, Mr. Sims Reeves, Signor Belletti, aud Mr. Weiss as principal vocalists.

Concert At The New St. Paul's Schoois.—On Monday evening the Choir of St. Paul's, assisted by Miss E. Ward and Mr. P. Williams, ontertained an audience of upwards of 500 persons with a performance of Glees, Madrigals, and Part-Songs, under the direction of Mr. Frederick Kinkee, organist. The programme was well arranged, the music efficiently rendered, and thoroughly appreciated. "Here in cool grot" was amongst the pieces encored, and the laughing chorus by Miss Ward, Messrs. Williams and Kinkee, was repeated three times. MrB. and Mr. Kinkee presided alternately at the pianoforte and harmonium.

Organist At Brunswick Chapel.{From a Correspondent) —The organist's situation at Brunswick Chapel, Upper Berkeleystreet, having become vacant by the sudden death of Mr. Abbott, was competed for on Thursday evening, the 5th inst. Each candidate played a chant, hymn tune, and a piece. At the conclusion of the trial the vestry sat, and announced Mr. A. H. Lowe as the successful candidate. The organ is a very old one, but capable of very beautiful effects.

A Testimonial, in the shape of a valuable gold watch and chain, was presented by the Messrs. Broadwood, on Saturday, Jan. the 7th, to Mr. Alexander Finlayson, a foreman, and for many years employed in the establishment at Westminster. Mr. Finlayson's father had been a workman in the manufactory, and his son and grandson are in the Messrs. Broadwood's service. The following inscription is engraved on the inner case of the watch:—

"Presented to Mr. Alexander Finlayson, by Messrs. John Broadwood and Sons, as a mark of their appreciation of his integrity and worth, on his entering his 60th year in their employment, 1860."


The Musical World may be obtained direct from the Office, 28, Holies-street, by quarterly subscription of five shillings, payable in advance; or by order of any Newsvendor.

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LONDON, SATURDAY, January 14th, 1860.

Mr. Charles Halle's Manchester concerts are becoming the vogue with all classes, from the rich merchant and manufacturer to the middle-class tradesman and bourgeois, and from the middle-class tradesman and bourgeois to the respectable and thrifty, albeit humbler, artisan. His last essay, the Iphigenia in Tauris of Gluck, apj>ears to have been a positive triumph. The fact of such a work producing so great an effect in a concert-room should put to slianic the managers of our lyric theatres, Italian and English, who have so obstinately presented a "cold shoulder" to the Patriarch of dramatic music—to Christopher Gluck, immediate predecessor of Mozart (though not of the same family), legitimate father of Spontini, and no less legitimate grandfather of Giacomo Meyerbeer.

The principal characters of the dramatis personal were thus sustained at Manchester:—

Iphigenia (High Priestess in Tauris)... Mad. Catherine Hayes.

The Goddess Diana Mdlle. Merei.

Priestess of the Temple Miss E. Thorley.

Orestes (brother of Iphigenia) ... Mr. Santley.

Pylades (his friend) ... ... ... Mr. Sims Reeves.

Thoas (King of the Scythians) Mr. Thomas.

Minister of the Sanotuary ... ... Mr. Arnold.

From a very interesting account of the performance in the Manchester Guardian (of Thursday) we extract the following:—

"In our impression of Saturday last we gave a brief account of Gluck and his works, and a statement of the principal incidents of his Iphigenia in Tauris, the opera performed last night. It will easily be seen what scope they afforded to a musician of Gluck's calibre. The emotional elements are many, and of the most interesting and exciting character. Iphigenia is alternately agitatod by grief at hnr unfortunate position, the loss of her country, the anguish on learning the fate of her kindred, especially of her dearly-loved brother Orestes, pity for the unknown Greeks who have landed on the fatal shores of the Scythians, and misery at being called upon to sacrifice her new-found brother; Orestes is filled with remorse for the murder of his mother Clvtemnestra, and by having led his friend into such imminent danger; while the heroic breast of Pylades is filled only with love for Orestes and a desire to save him at all hazards. Around these three principal characters arc grouped the Priestesses of the Temple, who reflect tho feelings of Iphigenia; the superstitious and bloody Scythians, with Thoas at their head, and the dread avenging Furies.

"The Iphigenia, first produced at Paris in 1779, consists chiefly of airs, but they are short, and while they carry on the action of tho drama, express in the happiest and most striking manner the feelings of the soul. There is but one duct, and one trio, which are not concertod pieces, but rather dialogues. The choruses are several; indeed, they play an important part. The principals are named above; in addition to these, there was a chorus of about 180, Mr. Hallo's own fine orchestral band being employed in rendering the accompaniments. This was, strange to say, the first performance of Iphigenia in Tauris in England ;* and, considering how little Gluck and his works are known here, it must be a gratifying fact to Mr. Halle", who has been at infinite pains in getting it up, and to all acquainted with the transcendent character of the musio, to find so very largo an audience assembled to hear it, especially considering that it was denuded of all stage accessories. The performance was entirely successful, principals, band and chorus exerting themselves to the utmost to do it justice. The wholo being uniformly of the highest character, it is difficult to select special points for commendation. One of the most Btriking pieees is a chorus supposed to bo sunn by the Scythians on learning that Orestes and Pylades are about to become their victims. Tho thing is savagely grand, and called forth warm plaudits from the audience. It was not a little heightened by what is called ' ballet music' being introduced. It is, however, very unlike what is understood by that in modern acceptation, being a series of war dances, of a Btrange but very exciting character. We may also refer to the invocation of Orestes to tho gods to let loose their wrath upon the bloody Scythians, magnificently given by Mr. Santley—as indeed was tho whole of the music allotted to him; the chorus of the Furies, in which the band accompaniments areappaling; the entire third act, which embodies tho struggle between Orestes and Pylades as to which shall be sacrificed; and a beautiful hymn to Diana—simplicity itself—which was enthusiastically re-demanded. The greatest enthusiasm was manifested by the immense audience, who paid Mr. Halle a perfect ovation at tho close of the opera; which will, we hope, determine him to give another performance. Tho production of such a work for the first time in so complete a manner, very strikingly exhibits the musical resources of this city; and, if it have the effect of calling forth other performances elsewhere, with or without the aid of stage resources, it will be a benefit conferred on musioal art."

TJie Mancliesler Examiner and Times, in the midst of a glowing and enthusiastic panegyric, transfers to its columns the narrative of the plot of Iphigenia in Tauris, from Boosey's Standard Lyric Drama,f which, on another

* This is erroneous. Iphigenia in Tauris was given at the St. James's Theatre, in 1840, by a German company, which first made Herr Staudigl known to the English public.

t "Iphigenia in Tauris is considered one of the finest productions of the classical drama of ancient Greeee. The libretto to which Gluck

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