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deserve to be repeated from time to time if only for the benefit of those who maintain that works of the highest genius cannot be appreciated by the great bulk of mankind, and they have been suggested to us by the enormous attendance at the Mozart concert last Monday at St. James's Hall, when the whole of the area was filled long before the entertainment commenced; and by the applause with which the various compositions were received, the slow movements of a quartet and a sonata being positively redemanded. We suppose if any music can be called "classical," it is that of the composer who ceased to write seventy years ago, and whose melodies are still as fresh as any-the most beautiful or the most recent-that have been given to the world since his death; whose pre-eminence as a "great master" is acknowledged by all musicians; whose tunes are known in all civilised lands; and whose operatic works are played in every European language. Nor can the epithet of "popular" in its widest sense be applied to any composer, classical or unclassical, so justly as to Mozart, inasmuch as his works, whether heard in the theatre, in the concert-room, or in the humblest private dwelling, through the medium of an orchestra, a quartet, a single instrument, or a voice that is capable of ordinary musical expression, are more generally appreciated and admired than the productions any other master, great or small.

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Of course it would be a sad error to argue from this coincidence in respect to one great composer, between the most thoroughly educated and only very slightly educated tastes, that any fair estimate of the value of works of art can be arrived at by taking the opinions, or rather the likings and dislikings, of the masses. We have no doubt that if the votes of Mr. Bright's friends could be collected on the subject, they would prefer some nigger insipidity or monstrosity not only to the Jupiter symphony-which would also be the case with numbers of their superiors-but even to "La ci darem" or the "Addio;" while in France the seven millions who elected Louis Napoléon to the Imperial throne would probably pronounce in favour of "La cus-quette du père Bugeaud" if called upon to choose between that and "Il mio tesoro." An utterly uneducated boor at a concert of high class music hears no more than a cow sees in presence of a magnificent landscape; but there is this important difference between the two animals-the latter can never become a connoisseur in painting, whereas the former, if he possesses the ordinary qualities of a man, may learn little by little to love music, and thus acquire a new and elevating pleasure. As every individual partakes of a common nature, there cannot be any very wide fundamental differences in matters of taste and sentiment. In nature similar objects produce similar emotions in all men; thus, all are impressed by objects of striking grandeur or of surpassing beauty. And, in the same way, every one a little removed from the condition of the brute finds something to charm him or to excite his admiration in the music of Mozart. Sunrise, the stars, lofty mountains, the sea, have beauty for every human creature, and. by analogy, it is easy to understand how the greatest of composers must, in a liberal interpretation of the word, be also the most popular.

RARELY do we see general delight more plainly and strongly manifested than we did on Tuesday last, when Mr. Albert Smith re-appeared before the public in his own Egyptian Hall. In the applause of the audience, and in the look of the "entertainer," there was something that

seemed like the whole world joining together in the brief proposition, "It's all right," uttered with a vast deal of emphasis.

The great Albert was affected; there was a friendliness in the greeting which could not escape his notice, and which brought the tears to his eyes. And he hit the right nail on the head when he declared his conviction that there is a sort of friendship between himself and his patrons, this conviction being based on the receipt of divers letters during his illness, written by persons of whom he had never heard, and all expressing the deepest anxiety for his recovery.

Certainly no one is more widely known in this country than Mr. Albert Smith, or enjoys a more extensive popularity. First in the field of all the modern "entertainers"-sedulous in keeping his entertainment distinct from that of all competitors-combining the character of the traveller with those of the comic vocalist and actor,— provided beforehand with a large circle of private friends,— Mr. Albert Smith has unquestionably made of himself a metropolitan institution of no small importance. Photographic artists have been anxious to catch the similitude of his physiognomy, and to suspend it among the choice works, wherewith they would engage the attention of the passer-by. We will run the risk of an Hibernicism, by declaring that everybody has seen Albert Smith, and everybody else has seen his portrait. If a child of five years old, looking at the likeness of Albert Smith, professed ignorance of the person represented, it would denote a state of benighted ignorance, demanding the immediate attention of the Earl of Shaftesbury. When Albert Smith had newly returned from the oriental trip, on which he based his first entertainment-the "Overland Mail"-some folks laughed at the beard, which covered his previously smooth chin. Short-sighted mirth! With that beard will Albert's face go down to a posterity who will believe that he never existed without it. There is now in our possession a portrait of Albert without a beard-but this is not the Albert of Mont Blanc, of Baden-Baden, of Canton; not the Albert who threatened to depart from us a fortnight ago, and and thus caused all London to shudder.

While the recovery of the popular idol was yet uncertain, we abstained from remark on the subject of his universally lamented illness, beyond the mere record of the fact, thus avoiding the gross indecency of the many newsmongers, who no sooner heard of the calamity than they at once inferred the most lamentable results, and spread their surmises about the town. On Christmas Eve the decease of Mr. Albert Smith was asserted in every place where men connected with periodical literature do congregate, as the great occurrence of the day, with all the aplomb of the most profound conviction. Had we chosen to follow in the train we might easily have filled our columns with all sorts of sepulchral bubbles, which would have been regarded with grim interest by a gaping multitude. But we have reserved the record of these impertinences till the present time, when Albert Smith is on his legs again, and he may fairly laugh at them as gabblings representing no truth, save only the interest with which he was universally regarded.

Yes, we will tell thee now, dear Albert, that on that dismal Christmas Eve thy untimely end was bewailed to an extent, far beyond any extent thou couldst have surmised, even on the receipt of thy numerous letters, the very rapidity with which the sad rumour was circulated amply demonstrating how much thou art cared for. The news of Wright's death had already depressed the spirits not a little, but Wright had

for some time been withdrawn from public gaze, whereas thou, Albert, wert in the plenitude of thy glory.

Not a whit too far do we go, when we assert that the supposed decease of Albert Smith was one of the mournfulest instances of the uncertainty of human affairs. Had an unprecedented combination of rare talent and singular good fortune led to no other result than this? Was the Egyptian Hall to be prematurely closed, and stand like a sort of modern antique mausoleum, marking the site of the merriment and good-humour which had promised to delight the London public for many years yet to come?

There is an old proverb to the effect that we only know the value of our treasures by the loss of them; and we have had an opportunity of testing this proverb in the case of Albert Smith, without experiencing the calamity that usually pertains to such trials. Thanks to over-busy tongues, the world was made to fancy for a moment that it was without an Albert Smith ;-and, lo! here was a gap in the cycle of entertainments,-nay, more, here was a gap in the many, many circles over which the genial Albert, in his private moments, was wont to shed the radiance of his hilarity. The solar system, with one of the principal planets knocked out by an intrusive comet, would not look more incomplete than the London season bereft of Albert Smith by the untimely snatch of destiny. Only fancy, all those portraits in the shops changed into semblances of one who was no longer living. Should we not seem to be walking in a city of tombs, as one would wander through the mazes of that great Pyramid, which itself grew lively under the footstep of the ever-cheerful Albert ?

We would not venture on these ghastly reflections, did they not refer to a calamity that has proved itself unreal, like one of those ghosts that vanish as soon as the investigation dares to touch them. Christian is allowed to smile at the Valley of the Shadow of Death when he has left its terrors behind; nor is whistling, when one is fairly out of the wood, ever deemed presumptuous. We dwell on the dismals, that we may be the better able to appreciate the joy we now feel, pleased to realize the old Virgilian consolation--Hæc olim meminisse juvabit.

Yes, we write these lines shortly after a visit to the Egyptian Hall, where we have seen the Achilles of "entertainers," not as Odysseus saw the Achilles of Greece, amid the shades, but alive and kicking the weight of uneasiness from the hearts of countless admirers. He is not only well planted on the surface of this sublunary globe, but he looks, talks, and laughs, as if he did not mean to be uprooted in a hurry, and we still feel the effect of the pleasant apparition. A word that, by the way, is here to be deprived of its common connection with ghosts.

A happy new year to Albert Smith, and may it be long before we are terrified again with even a dream of losing him.

THE LONDON ORCHESTRAL ASSOCIATION.-The first meeting of this Society took place on Saturday evening at St. James's Hall, when upwards of sixty amateur instrumentalists were present, and very creditably performed several overtures and symphonies under the able direction of Dr. James Pech. The next meetings are announced to take place every Saturday evening, terminating in June.

LONDON GLEE AND MADRIGAL UNION.-The performances of the Union at the Egyptian Hall during the past week having proved eminently successful. Mr. Mitchell, of Bond-street, has made arrangements for a second series of entertainments, commencing on Monday next, when the programme will be varied. The audiences have been numerous and fashionable, including many of the nobility at present in the metropolis.

GLASGOW MUSICAL FESTIVAL. SCOTLAND, at last, seems bent upon acquiring musical distinction. The prospectus of the forthcoming musical festival at Glasgow looks like a genuine festival prospectus ; and to show that we have none of the ill feeling towards our Transtweedian neighbours which divers irate personages from Aberdeen, and sundry less irate, but more sulky, from "Auld Reekie," have chosen to insinuate, we insert the introductory remarks without suppressing a word, not even excepting a paragraph which is manifestly an advertisement :

"The musical festivals held triennially in England have been productive of results so generally appreciated in the South, that their non-introduction into Scotland has been matter of frequent regret. It was well understood, however, that the production of celebrated musical works north of the Tweed, on a scale sufficiently great to constitute a festival, involved an extent of risk which rendered the undertaking all but impossible. Indeed, until within a comparatively recent period, the performance of a single oratorio in a suitable manner, genethat class have been produced less frequently than their pre-eminent rally resulted in pecuniary loss, and as a natural consequence, works of merit demands. But during the last few years a gratifying improve. ment has been perceptible in the public taste; an increased interest has been manifested in the highest class of music; and it is therefore festival will obtain adequate support, and be regarded as an appropriate believed, that the time has now arrived when the design of a musical expression of the public appreciation of one of the most ennobling of the fine arts. And while the fact will record the progress of that taste for classical compositions expected in a country so peculiarly rich in advancing the study of music, and in extending its elevating in national music, the result of such a festival must operate powerfully influences.

"These considerations have induced the proposal to celebrate, on the 24th and three following days of January, 1860, and under the auspices of the Glasgow Choral Union, the first Glasgow musical festival, in aid the Blind. The musical arrangements are on a scale suited to the of the funds of the Glasgow Royal Infirmary and the Asylum for character of the undertaking. The festival will embrace three complete oratorios and a grand miscellaneous concert; and the Directors have satisfaction in stating that a new oratorio entitled Gideon, written for the occasion by Charles E. Horsley, Esq., the eminent composer of David, Joseph, and other sacred works, will be produced for the first time, along with the Messiah and the Elijah,-the chefs-d'œuvre of Handel and Mendelssohn. It is apparent, however, that the practice followed on such occasions in England, where the oratorios are generally performed during the day, is impracticable in Scotland, and the concerts will, therefore, take place on the evenings of Tuesday, Wednesday, Thursday, and Friday.

"Eight solo vocalists have been engaged, of acknowledged excellence, accustomed to interpret the works of the great masters in sacred music; and it may be stated, that the principal soprano, Madame Novello, comes from her residence in Italy for the sole purpose of attending the festival. The band is composed exclusively of eminent artists, from the London Philharmonic Society; and the chorus will consist of the Glasgow Choral Union, numbering four hundred voices.

"At English festivals, with most extensive hall accommodation, the price of reserved seats is one guinea each, and at such a rate, it is evident, not only that a heavy expenditure can be sustained, but that a considerable surplus can be available for charitable purposes. In Scotland, on the other hand, the adoption of such a price would, to say the least, be a hazardous experiment, though the public halls will not contain audiences so large as can be accommodated in Birmingham, Leeds, or Bradford: the City Hall of Glasgow, where the concerts will be held, being capable of containing, at such performances, only from however, it was found that they were in a position, from various cir1700 to 1800 persons. From calculations made by the directors, cumstances, to organise a musical festival, in every respect worthy of the name, at the published rates of subscription; but it is presumed that many will be disposed to promote the objects in view, by increas additional tickets will be issued. ing their subscriptions, in which event a corresponding supply of

"The Subscription Book closed on the 21st December, and the remaining tickets will now be issued by Messrs. J. Muir Wood and Co., 42, Buchanan-street, Glasgow. The subscriptions are deposited in the Commercial Bank of Scotland, at Glasgow, in an account styled The Festival Fund.' And, in conjunction with the treasurer and secretary of the Choral Union, Alexander Harvey, Esq., Govanhaugh, Jame

M'Clelland, Esq., accountant, and William Paul, Esq., Commercial Bank of Scotland, honorary members of the society, have consented to act as trustees of the fund so created, and to issue the necessary drafts for the purposes of the festival.

"The free proceeds of the concerts will be devoted to the Glasgow Royal Infirmary and to the Asylum for the Blind, in equal proportions; and the attention of the public is respectfully directed to the fact, that the festival is not merely a great musical demonstration, but a medium through which, it is expected, a surplus will be available for the most important charities connected with the West of Scotland.

"For the information of those who may not be conversant with musical matters in Glasgow, it will be satisfactory to describe, shortly, the character and objects of the Society under whose auspices the proposed festival will be conducted. The Glasgow Choral Union was instituted in 1843, for the purpose of diffusing a knowledge of classi cal works, and cultivating the public taste for sacred music-a subsidiary object being to aid the benevolent institutions connected with the city. Previous to the formation of the Society, the oratorio and works of a similar character were almost entirely unknown in the West of Scotland; but, since that period, the Association has produced, in many instances repeatedly, the oratorios of the Messiah, Israel in Egypt, Judas Maccabæus, Creation, and Elijah, besides the Dettingen Te Deum, the Lobgesang, Mendelssohn's Antigone, and other miscel laneous works of Handel, Haydn, Mozart, Mendelssohn, Spohr, Horsley, &c. And though many difficulties have been encountered by the Society in prosecuting the objects embraced in its constitution, it is gratifying to find that by its efforts the cultivation of music in Glasgow has been powerfully and successfully promoted.

"It has been impossible to contribute so much to benevolent objects as could be desired-not only in consequence of the difficulties referred to, but also from the expensive nature of the arrangements necessary for first-class concerts-all the profits, however, have been devoted to charitable purposes. And it is important to add, that the society is composed entirely of amateurs, and that the exertions of the members are disinterested; gentlemen pay an annual subscription, and no member derives pecuniary benefit."

The above may stand both as an apology for the past and a promise for the future-and in both instances may be accepted as eminently satisfactory. The only obscure point is that which explains (or rather fails to explain) why the oratorios cannot be performed in the morning just as conveniently in Scotland as elsewhere.

The Festival is to be held on Tuesday, Wednesday, Thursday, and Friday, the 24th, 25th, 26th, and 27th of this month. The principal singers are: Mad. Novello (with an honorarium, we hear, of 400 guineas-a costly item, where so many others have to be reckoned), and Miss Whitham, sopranos; Miss Dolby and Mrs. Lockey, contraltos; Messrs. Sims Reeves and Lockey, tenors; Messrs. Weiss and Winn, basses; Mr. Henry Smart to preside at the organ; Mr. H. Albert Lambert (organist of Glasgow Cathedral), to be conductor. The executive committee is composed of the members of the Glasgow Choral Union; the trustees of the Festival Fund are as follows:

Alexander Harvey, Esq., Govanhaugh.

(Principal), and Rockstro. OBOES.-Messrs. A. Nicholson (Principal) and T. Smith. CLARIONETS.-Messrs. H. Lazarus (Principal) and Tyler. BASSOONS.-Messrs. Anderson (Principal) and Nobbs. HORNS. -Messrs. C. Harper (Principal), J. W. Standen, Hayward, A. Kielbach. TRUMPETS.-Messrs. T. Harper (Principal) and J. B. Irwin. TROMBONES.-Messrs. Hawkes, Webster, Healy, jun. EUPHONIUM.-Mr. Phasey. DRUMS. Mr. Chipp.

The members of the Glasgow Choral Union number 400, which will thus make a vocal and instrumental orchestra nearly 500 strong. The players are already "proven;" let us hope the singers may be found their worthy associates. The order of the programme is as subjoined :—

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Elijah.

Grand Miscellaneous Concert. Gideon.

The Messiah.

Tuesday evening Wednesday evening Thursday evening... Friday evening The miscellaneous concert is remarkably well selected, and presents both interest and variety, the only thing wanting being a solo or two for pianoforte or violin-a point to the great importance of which, as an agreeable relief, Festival Committees are not always sufficiently alive. The welcome afforded to a new oratorio from an English pen is honourable to the Glasgow people, and as Mr. Horsley will conduct the performance himself, it will be his own fault if the execution is not all that could be desired. As a grand rehearsal is announced to take place in St. James's Hall, on the evening of the 19th instant (Thursday), our readers may possibly like to know how Mr. Horsley (or rather, the Rev. Archer Gurney, his poet) has arranged the materials yielded by the subject he has had to treat. We therefore append a digest:

lowing chapters of the Book of Judges, and forms, with a few inevi"The subject of the oratorio is taken from the sixth and four fol table modifications, a somewhat faithful reproduction of the sacred narrative.

"The poem comprises three parts:-The first is opened by the wailings of the people of Israel for their sins, under the dread of the invading hosts of Midian, followed by the denunciation of God's anger against His people, from the lips of a prophet; the reckless scorn and revelry of the worshippers of Baal-Ebed, and the rest and the expostulations, on God's behalf, of his prophetess Zillah. We then trace the fears and aspirations, in solitude, of Gideon, and his call by angels Baal, the erection of an altar to the Lord, with songs of praise; and to the field; the overthrow, by himself and his servants, of the altar of the part concludes with a chorale, sung in the dead of night, by the

servants of Gideon, to the honour of the Lord Jehovah.

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"In the second part, we have the fierce cries of the worshippers of Baal-ther demand for vengeance upon Gideon, the reply of his father Joash, and the summons of Israel to the field, by the chosen warrior, who speaks under the inspiring influence of the Spirit of God, and calls forth an answering fervour in the hearts of all His people.

"The Third Part embraces the crisis of the sacred story, preceded by the War March and Song of Midian, and the midnight commune of Gideon with God and his own heart. And after a scene embodying

James M'Clelland, Esq, President of the Institute of Accountants the descent of Gideon, with his servant Phurah, into the enemies' camp, and Actuaries in Glasgow.

Wm. Paul, Esq., Commercial Bank of Scotland.
The Treasurer and Secretary of the Choral Union.

To show that the band will be very efficient-" superior" (as the prospectus states), "to any which has hitherto appeared in Scotland"— -we append the list of players, all

of whom are members of the London Philharmonic Society :

VIOLINS.-Messrs. H. Blagrove (Principal), J. H. B. Dando, J. T. Willy, J. T. Carrodus, Pollitzer, R. Clementi, J. B. Nadaud, Jacquin, Wickett, Max. Vogell. SECOND VIOLINS.--Messrs. W. Watson (Principal), J. Newsham, E. Perry, S. Bort, J. Schmidt, J. Kelly, J. J. Calkin, J. P. Colchester, J. B. Tourneur, Zerbini, jun. VIOLAS. Messrs. R. Blagrove (Principal), W. H. Webb, J. Westlake, Boileau, Tolhurst, W. W. Waud. VIOLONCELLOS.-Messrs. G. Hausmann (Principal), W. F. Reed, Daubert, A. Guest, Goodban, H. R. Reed. CONTRA-BASSES.-Messre. J. Howell (Principal), J. Reynolds, T. Edgar, W. J. Castell, Blakiston, J. P. Waud. FLUTES.-Messrs. R. S. Pratten

and the prophetic dream or vision of the man of Midian, the final judgement, ushered in by the divinely-ordered war-cry,-The sword of the Lord and of Gideon,' is depicted through the medium of choruses, uttered by angelic witnesses; and the poem concludes with the triumphant return of the conquerors, and the prophetic and exultant lays of Zillah and her companions, forshadowing the coming of a greater Conqueror and Deliverer in the person of the Son of David,"

The above-although we find the somewhat hacknied incident of the "War March," with its stereotyped belongings, and although we find traces, here and there, of the dramatic conduct of Elijah and of Eli-certainly looks promising. At any rate, if rumour errs not, Gideon is by many degrees Mr. Horsley's best oratorio.

To conclude-as we have initiated our readers into so many particulars, we may as well let them know all, and by annexing a list of the charges for admission, allow them an opportunity of comparing the Glasgow fiscal policy with that

of Birmingham, Norwich, Bradford, Leeds, and the Cathedral 100 DANCES FOR PIANOFORTE, 2s. 6d. Just

towns:

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5. "SWEET HOPE."

6. "REMEMBRANCE."

7. "GRATITUDE."

S. "I LOVE THE OAK," for contralto or barytone.

London: Duncan Davison and Co., 244, Regent-street, W.,
Where may be obtained

Two Chamber Trios for soprano, mezzo-soprano, and contralto: "Come sisters, let us dance and sing," 2s. 6d. "Come, fairies, come, the stars shine bright," 2s. 6d. Three Italian Songs: "Vieni, Vieni," serenade, 23.; "L' onda che mormora, romance, 2s. 6d. ; "Ah, se piacer mi vuoi," romance, 28.

Just published, in post 8vo., cloth,

ready, BOOSEYS' NATIONAL DANCE-BOOK, containing 100 Reels, Country Dances, Jigs, Strathspeys, &c., for Pianoforte, large size, 2s. 6d. Also, just published, Strauss' 25 best Waltzes, 2s. 6d. Boosey and Sons, Hollesstreet.

CHARLES LUDERS' COMPOSITIONS.

FOR THE PIANOFORTE.

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SIX ROMANCES ANGLAISES, Op. 27
LA CAPRICIEUSE, Grand Valse, Op. 31
LA DANSE DES SORCIERES, Op. 33
GALOP, Composé pour le Roi de Prusse, Op. 34
LA TARENTELLE, Op, 41 (Dediée à Ferdinand Praeger)

LE CORSAIRE, Op. 42, Mélodie historique (Dediée à Edouard Roeckel)
VOICE AND PIANOFORTE.
L'EMIGRE IRLANDAIS, Ballad, translated from the English poem of
Lady Dufferin by the Chevalier de Chatelain. Suug by Miss Dolby ..
LONDON: DUNCAN DAVISON, 244, REGENT-STREET.
DONALD DUNCAN'S

B. d.

6 0

8 0

..

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PURE SCOTCH MALT WHISKIES,

3 0

ARE CHEAPER, MORE WHOLESOME, AND FAR SUPERIOR TO THE FINEST FRENCH BRANDY.

ROYAL BALMORAL, a very fine, mild, and mellow spirit THE PRINCE'S USQUEBEAUGH, a much admired and delicious spirit

DONALD DUNCAN'S Celebrated Registered DD. Whiskey of extraordinary quality and age..

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15s. per Gallon. 18s. Do.

..

205. Do.

Two gallons of either of the above sent to any part, or sample forwarded for 12 postage stamps. Terms cash. 4, Burleigh-street, Strand, W.C.

ACHIANA, Preludes and Fugues, by John Sebastian the classical concerts, in six numbers, each 2s. London: Duncan Davison and Co., 244, Regent-street, W.

A COLLECTION OF WORDS OF 2,270 ANTHEMS, THE HARMONIOUS BLACKSMITH. Composed by

with 452 Biographical Accounts of Authors, &c. By B. St. J. B. Joule, Esq., Fellow of the Genealogical and Historical Society of Great Britain, and Honorary Organist of St. Peter's Church, Manchester. Price 6s. 6d. The Author will be happy to make arrangements for the supply of a number of copies to any cathedral, or other church, either in cloth or sheets.

EW SONG FOR CHRISTMAS.-"THE CHRIST

"The Christmas Rose! The Christmas Rose! 'Mid wintry frost and snow it blows;

And opes its portals pure and fair,

When winds have swept the gay parterre.

Just like a true and constant friend,

Whose faith no storms of life can bend;

Not the mere friend of summer day,

But firm when joy hath passed away.

This flower is like the joys that shine,

In sorrow's hour and life's decline,

When youth hath passed and pleasure flown,

And sad the spirit sighs alone;

Then marvel not that thus I twine

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correct edition, as played at all the classical concerts, is published, price 28., by Duncan Davison and Co., 244, Regent-street, W.

NEW SACRED SONG, "Awake, little Pilgrim." Com

posed by Maurice Cobham; the poetry by the Rev. D. T. K. Drummond. Price 2s. 6d. Awake, little pilgrim, the day is at hand,

The rays of the morning appear on the land;

O, haste with thy burden to life's narrow gate,

Ere the night shadows falling proclaim thee too late.

Knock, little pilgrim, it shall not be vain,

Thy feeble entreaties admittance shall gain;

Thy Saviour is waiting to bid thee God speed,

He turns none away from his door in their need.

London: Duncan Davison and Co., 244, Regent-street, W.

EYERBEER'S Setting of the "Lord's Prayer," for

Latin text, in score, 3s., separate vocal parts, 6d. each, by Duncan Davison and Co., 244, Regent-street, W.

SIMS

IMS REEVES'S NEW SONG, "Wert thou mine," Composed by Frank Mori, is published, price 2s. 6d., by Duncan Davison and Co., 244, Regent-street, W.

BRINLEY RICHARDS'S "ETHEL." Romance for

Pianoforte. Price 2s. London: Duncan Davison and Co., 244, Regent-street, W. "Mr. Thackery's Ethel Newcombe has inspired the composer with graceful and elegant ideas, in the form of what may be called a romance without words, exceedingly vocal and richly accompanied."-Daily News.

RINLEY RICHARDS'S "SULIOTE WAR SONG." Sung by Mr. Santley. Price 3s. London: Duncan Davison and Co., 244,

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BRIN
AN be applied to blow the Regent-street, W.

CAN

bellows of Organs and Harmoniums wherever water at a pressure can be obtained.

For price and particulars of Organ Blower apply to CARRETT, MARSHALL, and Co., Sun Foundry, Leeds, sole authorised makers and agents, or to DAVID JOY, Patentee, Leeds.

Ditto of Harmonium Blower, apply t BOOSEY and SONS, Holles-street, London sole agents.

Organ Builders supplied on liberal terms.

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BRINLEY BRIUMMER."

RINLEY RICHARDS'S

"BLIND

Sung by Miss Palmer. Price 2s. 6d. Davison and Co., 244, Regent-street, W.

MAN AND NEW PIANOFORTE MUSIC

London: Duncan

REICHARDT'S "THOU ART SO NEAR AND YET

SO FAR," sung by the Composer, with the most distinguished success, is published, price 3s., by Duncan Davison and Co., 244, Regent-street, W.

REICHARDT'S "ARE THEY MEANT BUT TO

DECEIVE ME," sung with the greatest éclat by the composer is published, price 2s. 6d., by Duncan Davison and Co., 244, Regent-street, W,

"I WOULD I WERE A BUTTERFLY." The New

Song composed by ADOLPH SCHLOESSER, now singing with the greatest success by Madame Lemmens Sherrington, is published, price 2s. 6d., hy Duncan Davison and Co., 244, Regent-street, London, W.

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FOR THE

DRAWING ROOM.

GOLLMICK.

s. d.

Vive la Danse, Valse... 3 0 | Bellona, Fest March
Belinda, Nocturne
Azelia...
Jeu d' Esprit, Caprice

Thou art so near

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Pauline, Mazurka de Salon

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Les Boutons de Roses Souvenir du Rigi

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BRINLEY RICHARDS.

Nelly Gray
Shadow Air, Dinorah... 3 0
The Power of Love

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Santa Maria

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Bolero "Les Vespers

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MADAME

Valse Sympathique 40

Dinorah

Les Vêpres Siciliennes. 5 0

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