words of our Lord following the final scene in the life of St. John appeared to come in most appropriately, as, indeed, did all the succeeding selections. In this part, however, we must give the pre-eminence to the aria "Thou wilt keep him in perfect peace," and the chorus " The Lord is righteous in all his ways," The oratorio of St. John will, we doubt not, at once take a good

¥lace amongst the standard compositions of the English school, t has many beauties, and but few faults. Some of the choruses appeared to us to want breadth ; and there were one or two parts open to criticism, but as they suffered from defects in the rendering, we pass them over. These, however, were exceptional faults, and on the whole the performance was excellent. We trust that Mr. Gilbert wii! give us another opportunity of hearing this beautiful composition.—Maidstone Journal.

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LONDON, SATURDAY, Mat 5th, 1860.


It is generally conceived that the year 1860 will make everybody's fortune. In our musical sphere this persuasion obtains more strongly, perhaps, than in any other. With how much reason time will show. For our own part, we have no great faith in the result. Out of the vast tribe of foreign artists who project a trip to London, during the period of the Great Orpheonic Gathering at the Crystal Palace, how many will return home satisfied? How many indeed, will' realise even so much as would amount to the expense of their journey here and back t A contemporary prints a list of composers, singers, and instrumental performers who have expressed their intention of coming to London this season. Wc shall not reproduce it, since it would occupy nearly a column of our space, and further, because the advent of not a few of them is, to use a mild expression, apocryphal. Imagiue Mdlle. Clauss, Madame Schumann, Mdlle.' Marie Wieck, Liszt, Leopold de Meyer, Rubinstein, Lubeck, Thalberg, Henselt, Dreyschock, Dohler, Wilmers, Bulow, Prudent, die., all in London at the same time! What an army of pianists hors liyne! What a shower of fantasias.

But where will they give their concerts ?—where find their pianos 1 Ay, and where find their audiences 1 When they come—if come they do—they will find the Hanoversquaro Rooms, and Willis's Rcoms, and Wornum's Rooms, and Blagrove's Rooms, and the Princess's Concert Room, and Collard's new Concert Room, and Exeter Hall, and St. James's Hall, and St. Martin's Hall, and even Crosby Hall, already engaged for entertainments of various kinds well nigh up to the end of September. The "natives" will have forestalled them. They canDot hire a church, like Barnum. Mr. Gye will not let them Covent Garden, nor Mr. E. T. Smith Her Majesty's Theatre; while the last-named impresario keeps the keys of Drury Lane, doubtless ruminating, even at the present moment, on some gigantic scheme, some embryo triumph of his teeming imagination, which, once busy, acts upon events as the Sun of old upon the muddy Chaos, breeding monsters.

Allowing all the music-rooms of London to be opeu to their disposal, where, wc repeat, are their pianos? Will Broadwood, or Collard, or Erard, with generous zeal, submit their instruments to the wear and tear of ninety fingers, each as fiuger as ten 1 It is scarcely probable. Enough to withstand the brunt of one lion-pianist at a time, as any tuner will attest. The hammers themselves would rebel at the reiterated thumps, and, not waiting to be disabled, refuse to assail the wires; while the sounding-board, struck mute with wonder, would cease to be a conductor—like the haunted Rhenish cliff, under the influence of a thunderstorm.*

However, to drop metaphor, let the pianofortes be accorded. Broadwood empties his vast manufactory of its choicest wares; Erard sends to the Paris establishment for foreign reinforcements: allow this for argument's sake; and where are the audiences?

Some new Madame Pleyel, in all probability, would "make the town run," as the French say {/aire coivrir la ville), as the famous pianist, of then not more than thirty summers, did in 1846, and divert the attention of some thousands of amateurs from the doings in the Park and Rotten-row. But Madame Pleyel, who was a handsome woman, and a woman of esprit, her prototype, without venturing on comparisons, which might tell equally in her favour, would have the game all to herself. The remaining pianists, unless inclined to exhibit themselves as "echantillons" of modern mechanical skill, at the Scientific Department in the Crystal Palace, would be compelled to walk about London with their hands in their pockets, or to give lessons to aristocratic young ladies, ambitious to shine in the drawingroom, by scrambling through impossible fantasias, for the edification of their friends, admirers, and parents. It is true, this pays better than concert giving; but there is no glory in it, and a "lion" biped without glory, is no better than a lion quadruped without a tail.

We shall not discuss the chums of the violinists, vocalists, harpists, flautists, cornists, oboists, trombonists, violoncellists, contrabassists, &c, who are all packing up their instruments and preparing for England. Let them rest assured, however, that the only part they will be able to play, in the great gathering, will be.the simple one of spectators. If they be fond of sight-seeing let them come. But, if they look for gold in exchange for their notes, let them go to Australia, where the " diggins" hard by will doubtless present a far more curious spectacle than anything to be found in the Crystal Palace. If one out of twenty return home richer than he came—if one out of ten do not find himself poorer— if one out of five can boast of having earned a hundred pounds—or if one alone be lucky enough to reap a harvest worth his " travel" and his honour, we consent to break our wand, like Mother Goose, scatter the pieces to the winds, and give up prophesying. Time will show.

"Sublime Nature! when we see thee and love thee, we more warmly love our fellow men ; and if we are compelled to mourn or forget them, thou remainest near us, reposing before our tearful eyes, like a verdant chain of mountains tinted with the ruddy hue of evening. Ah, for the soul that has seen the morning dew of its ideal change into a cold dreary rain; and for the heart that, in the subterranean passages of this life, regards the men it meets as dried crooked 1 mummies leaning upon their staff in a catacomb; and for the eye, that is bereaved and deserted, so that the sight of no human being can give it joy ; and for the haughty son of the gods, whom his mifaith and his solitary unsympathetic heart, have riveted to an eternal irradicabie pnin; for all these, dost thou, invigorating Nature, with thy flowers, and thy mountains, and thy cataracts, stand as a faithful consoler, and the bleeding son of the gods mutely and coldly dashes the drop

* Lorelei, on the Rhine, celebrated for its echo, and which promised to acquire a still higher, renown, had Mendelssohn lived to complete the opera which was to bear ita name. ■ • .. —

of pain from his eyes, that they may repose brightly and broadly upon thy volcanoes, and thy springs, and thy suns."

The above rhapsody, which is translated with tolerable fidelity from the "Titan" of Jean Paul, was uttered by Panurge, in no very low tone of voice, as he stalked through Great St. Andrew's-street, aud felt his ears titillated and his heart refreshed by the songs of the innumerable warblers that decorated the doors and windows of the bird-fanciers. Another manifestation of nature was the strong scent of the rabbits and guinea-pigs, that inhabited the same premises, very comfortable to his nostrils. Of such consolations did he stand greatly in need, for his life, and the life of all our friends had been much less happy since the discovery of Carpimon,—who had a very ugly habit of borrowing small suras, and if he had set his mind on half-a-crown or half-a-sovereign, would resort, not only to supplications, but even to tears and menaces, in order to gain his object. At one time, his favourite menace was of suicide, and he threatened, in the presence of Pantagruel, to swallow a dose of prassic acid, on a stern refusal of the latter to advance him los. &d.; but Pantagruel's conviction, that Carpimon's self-extermination would be rather desirable than otherwise, was so strongly expressed in every line of his princely countenance, and so completely were the views of their master entertained by Panurge and Epistemon, that Carpimon abandoned this mode of proceeding as diametrically opposite to his interests. Instead of the prussic acid, which, by the way, was only a solution of cream of tartar, he would now produce the first six books of liis epic poem "King Lud," which opened:—

"Muse, witli vast London's king make thine exord," and begin to read it aloud in an exceedingly dolorous voice, till his unhappy auditors were fain to purchase their.freedom at his own price. It was just after enduring five hundred lines of " King Lud," and buying himself off from the rest with half a-crown, from which he had promised himself many plates, pints, and quarterns of exquisite enjoyment, that Panurge began to "Jean-Paulize" in the manner above described.

"With what amazing facility can everybody fit the words of a favourite author to his own case! When Lobscum Briggs, Esquire, sees the well-known lines of Horace: "Exegi monumer.tum sere perennius." he thinks it perfectly applicable to his own farce, though the week's duration of that miserable production was simply occasioned by the economy of the manager, who would not incur the expense of printing a new bill. And in the same manner did the rhapsody of Jean Paul, though supposed to be uttered on one of the islands in the Lago Maggiore, seem to Panurge a perfectly apt expression of his thoughts, as he wandered through the lovely, but less romantic region of Seven Dials. He was himself the son of the gods, and Carpimon was the incarnation of all the woes for which nature was to supply a balm. Thus, while the half-crown was the morning-dew of the ideal, the expenditure of that precious coin by Carpimon was its conversion into an unseemly drizzle. Carpimon waiting on the mat, was the crutched mummy in the catacomb ; indeed worse than the mummy, for the stick which he invariably carried seemed to have been procured, not so much for the support of his person, as with a view to the enforcement of his demands. Carpimon was also one of those human beings, the sight of whom affords no joy.

Followed by a considerable train of blackguard boys, who composed a perpetual, but by no means elucidatory, comment on his loudly expressed thoughts, Panurge at length reached the Edinburgh Castle, where Le found Pantagruel and Epistemon, with a mild, dignified sorrow written on their countenances. Two days, at least, had elapsed, since the former had lent ten shillings, the latter eighteen-pence, to Carpimon, and they had therefore had time to sooth their aching hearts with the balm of philosophy.

"What a lovely unanimity exists in the mind of America!" said Epistemon, with an amiable sigh.

"Dost thou allude to the last fight in Congress, and to the universal delight in riot there manifested?" asked Panurge.

"No, I allude to those American farces, which are supposed to enlighten us as to the female peculiarities of New Englaud. Here we have a new comic drama at the Adelphi, wherein Miss Julia Daly playeth a Yankee gal, and it looketh to me exactly like some dozen farces in which Mrs. Barney Williams appeared, and which were all exactly like one another, and also like the play, in which Mrs. Florence first introduced us to the State of Maine. The "Yankee Gal," by whomever played, also goeth through precisely the same functions. She is ignorant of the conventionalities of life, and she inculcateth the belief that her own ignorance is superior to the knowledge by which she is surrounded. She telleth a tooforward lover to "git out," she half frighteneth and halfamuseth an old gentleman, she persecuteth a fop, she discourseth largely of Jerusalem and. molasses, and she endureth not contradiction. Whatever be her name she doeth exactly the same things, and meeteth exactly the same personages. Now I am convinced that the countless farces in which this type appeareth do not owe their similarity to each other to any imitative process, but that they are the result of a certain community of mind that existeth among American dramatists. Thou hast heard perchance of the doctrine of Averrhoes, to the effect that we have not separate souls, but are, as it were, so many oozings of a grand universal soul"

"And a cursed heresy it is!" exclaimed Panurge. "Dost thou think that I could ever espouse a theory that made me the partner in a soul with such as thou art. Dost thou think I will term thee 'Animse dimidium mese.' Monstrous!"

"Believe me, I shrink from the partnership quite as readily as thou," replied Epistemon, gravely. "I limit my Averrhofiism to the case of the American dramatists, not having any other hypothesis to account for. the marvellous phenomenon to which I have just referred."

"There is much in what thou sayest," said Panurge. "I know not why a soul should not be in half-a-dozen places at once, when we know this is possible with a body. Our own archives prove that at the very moment, when Carpimon was borrowing 3«. 6rf. of me in St. Martin's Lane, he was cajoling thee out of Is. 4c£ within view of Whitechapel church."

"And reading his accursed epic to me at Deptford," added Pantagruel.

"That day should be marked after the fashion of the ancients, with the very blackest of stones," sighed Panurge. "It was doubtless the anniversary of the occasion on which the churl planted the tree, that was within an ace of breaking the head of Horace."

"And if there be any truth in the Pythagorean doctrine of transmigration," said Epistemon, "that churl was Carpimon:

"' Ilium et parentis crediderim sui
Fregiase cerricem, et penetralia
Sparsiase nocturno amoio

"But while we theorize about this similarity of American farces," said Pantagruel, "let us not omit the opportunity of paying our tribute of commendation to the very original actress who is now performing at the Adelphi. Though Miss Julia Daly speaket h words, and appeareth in situations that we have heard and seen over and over again, yet do I find something entirely novel and unborrowed in the mode of her deliueation. She rather subdueth than heighteneth the caricatures of her own countrywomen, it is her mission to embody, but she is ever pointed and shrewd, and though she plainly indicate th the presence of that strong will, which belongeth to the New England ideal, yet doth she deport herself, not like the torrent that reoklessly upsetteth every obstacle, but rather like the calm stream, that quietly weareth its way, even through granite. I find in her a mild intelligence that qualifieth greatly the coarseness of the parts she represents, and is particularly soothing and refreshing to my mind, suffering as it is under the irritation produced by the accursed Carpimon. Let us, therefore, bring this discourse, which is somewhat of the dullest, to a clogs, and proceed to the Adelphi Theatre, that we may witness once more the performance of Miss Julia Daly."

The Illustrated Times published last week a portrait of Madame Borghi-Mamo, accompanied by an article which was in the form of a memoir, but, in substance, was an examination and eulogium of that artist's talent. Some interesting particulars in Madame Borghi-Mamo's life have since reached us, which, instead of forwarding to our contemporary (to whom, for the rest, they would probably be of no use), we keep for the benefit of our own readers.

Madame Borghi-Mamo—or rather Mdlle. Borghi—manifested at a very early age a genius for dramatic singing. She was not twelve years old, when, having taken her to a representation of Rossini's Tancredi, her parents were astonished on the following morning to hear her repeat all the most striking melodies from that opera, among which we may be sure the celebrated "Di tanti palpiti" was not forgotten. Nor did the little girl recollect the music alone. Every scene, with the dramatic action appropriate to each, had impressed itself upon her memory; and a few days after this visit to the Opera, which must be regarded as one of the most important events in Mdlle. Borghi's life, her father and mother, returning home unexpectedly, found their drawingroom converted into a theatre, and their child deckiming and singing on that portion of it which represented the stage.

The youthful Adelaide's passion for the Opera was so evident, that her parents, who had no sort of liking for theatrical pursuits, resolved, if they could not restrain it, at least to do nothing that could in any way stimulate it. But Adelaide studied in secret, and, one happy day, succeeded in prevailing upon a friend to take her to the house of Rossini, where the great master heard her sing several of his compositions, himselfaccompanyingheronthe piano. The young artist—which by instinct and intelligence she already was— trembled with excitement, as she awaited the decision of the illustrious composer respecting her capabilities and chances of success in the career for which she felt so strong a vocation. Rossini did not keep her long in suspense, but, embracing her affectionately, said with enthusiasm—" You will one day be a great singer 1"

The Borghi family, however, seemed determined to prevent little Adelaide from following the path she had chosen. Rossini was informed of this, and consoled the interesting aspirant by explaining to her that her parents, when they became sensible of her great talent, would see the propriety of abandoning her resolution. They were more inflexible, however, than the maestro had supposed, and did their utmost to impede the child in what was really the fulfilment of her destiny.

Adelaide Borghi's passion for singing was so strong, and it was so obstinately thwarted by her father and mother, that the consequence was a nervous fever, beneath which the poor girl was near succumbing. In her delirium she constantly repeated the name of Rossini, and exclaimed, in accents of despair, that he had told her she never would be a great singer. Adelaide's interview with Rossini appears to have been kept a secret from her relations; but the doctor, finding that her brain was tormented with ideas which Rossini alone could dispel, called upon the composer, who lost no time in returning with him to his patient's bedside. There he repeated to her, again and again, that she would indeed be a great singer, and his assurances and general kindness had the effect of allaying the delirium of the sick child. Rossini then convinced the parents of the inutility, not to say cruelty, of ignoring—from a feeling which, however conscientious, was, after all, but a prejudice—an inclination that was irresistible, and which, properly directed, might lead to the happiest results.

Thus the admirers of Borghi-Mamo owe a double debt of gratitude to Rossini; first, because it was in his operas that she learnt to sing; secondly, because, but for Rossini's personal influence and interference, she would probably never have lived to be, in his own words, "a great sing&r."

After opposing their daughter's wishes until it was unreasonable to do so any longer, Adelaide's father and mother showed their parental affection by carefully watching over her during the difficult period of her deMts. She had been singing, however, only a few years when she lost them both, and she was already an orphan, then in Malta, where she had a three years' engagement to fulfil, when she accepted the hand of M. Mamo, a member of one of the moat respectable families in the island. Madame Borghi-Mamo left the Malta Theatre, where she had very lucrative "appointments," for the Scala at Milan. Here she received a smaller salary, but at once established a reputation which has since become European.

For several years after her first appearance, Mdlle. Borghi, naturally of a delicate fragile organisation, was so slender, being at the same time somewhat diminutive in stature, and her voice was so powerful, that she used to say of herself" La Borghi is heard, but is not seen." Fortunately however, she is heard and seen too, for she is not only one of the most accomplished singers, but also one of the finest actresses on the lyric stage.

Leipsic.Success Of English Musicians In Germany(From a C'orrespondent).-~At the great public performance given by the Conservatorium of Leipzig in the Saale des Getcandhauses, on Monday evening, the 23rd April, in the presence of 2,000 persons, amongst whom were the most distinguished of the professors and dilettanti of Germany; the two daughters of the English composer, John Barnett, carried away all the honours of the institution, both for their perperformance upon the piano and their singing. The eldest has already been mentioned by the Press for her fine contralto voice and great promise as a vocalitte. The Leipziger

Journal of the 24th April, and the JUgenwine Zeitung of the 2Gth, bestow the most flattering encomiums upon these two young ladies' performance. They were both recalled—and at the termination of the concert, received public acknowledgments from the directors, a compliment which has never before been paid to any pupil of the Conservatorium. ^


The first performance of Lucreiia Borgia, on Friday night last week, although not belonging to the subscription, attracted a full attendance. Signor Everardi was the Duke; Signer Mongini, Gennaro; and Madame Borghi-Mamo Maffeo Orsini. Mdlle. Titiens' Lucrezia was as grand as ever. Her "M' odi, m' odi," in the last act, as an example of brilliant vocalisation, could hardly be surpassed. Signor Mongini was eminently successful, and earned well-merited laurels in an interpolated air (Act III.), which was enthusiastically encored. Madame Borghi-Mamo was, of course, obliged to repeat the brinditi, which she sang with the utmost animation. The trio in the second act (Lucrezia, Gennaro and Alfonso), '' Guai se ti fuggi," was, as usual, encored. Lucreiia Borgia was repeated on Thursday, this time Signor Vialetti representing the Duke.

On Saturday Almina was performed for the second time, and on Monday, for the third and last time—the occasion being Mdlle. Ficcolomini's farewell appearance. The theatre was not so crowded as might have been expected. Every place, however, was paid for, and the stalls,.pit, amphitheatre, and gallery, were filled. It is to be regretted that Mdlle. Piccolomini did not take her leave in the Traviata, with which she has so closely identified herself. Had Signor Verdi's opera been given, the house, we have no doubt, would have been crammed. The heroine of the evening, notwithstanding, had no reason to be discontented with her reception. The applause was genuine and legitimate, the display of bouquets tremendous, while wreaths, laurels, and garlands were not wantiug. At one time, indeed, Mdlle. Piccolomini had to call in the aid of Signors Giuglini and Aldighieri, to assist her in carrying off the floral contributions. But the climax was not reached until after tbe duet from the ifartiri, which terminated the performance, and in which Mdlle. Piccolomini and Signor Giuglini created a furore, the last movement being encored with vehement applause. The audience now became furiously enthusiastic, and called for Mdlle. Piccolomini oftener than we remember, each time covering the stage with bouquets. Mdlle. Piccolomini contrived at last to make her escape, and the curtain was drawn for ever between her and the public.

Mdlle. Piccolomini's career has been equally brilliant and unaccountable. Perhaps no artist with such slender means ever before achieved so great a reputation. That a good deal of the sensation must be attributed to her energy and command of expression will be admitted; but still more, we fancy, should be referred to the entire originality of her style. It was impossible to compare her with any one else, and thus she was exempt from a judicial process often dangerous to questionable reputations. Mdlle. Piccolomini may not perhaps be greatly missed from the lyric boards; but years are likely to elapse before so decided a favourite with the general public is seen again. For our own parts we are sorry to lose her, since, whatever her short-comings, she had undoubted genius, and this, allied to youth and indomitable will, might in the end have made her a thorough artist.

Otello was given for the second time on Tuesday, and attracted a full attendance. Madame Borghi-Mamo sang even better than on the first night, and was again rapturously encored in "Assisa a pio d'un salice." Signor Mongini (Otello), was as striking and vigorous as before, and the quick movement of the duet, "Non m' inganno," with Signor Everardi (Iago)—was encored with acclamations.

Don Giovanni is announced for to-night—Signor Everardi as the hero; Madame Borghi-Maino as Zerlina; Mdlle. Vaneri, Elvira; Mdlle. Titiens, Donna Anna; Signor Vialetti, Leporello; Signor Aldighieri, Masetto; and Signor Giuglini, Don Ottavio.

EOYAL ITALIAN OPERA. On Saturday, La Favorita was given for the second time. The performance offered no new feature, with the exception that Signor Mario sang with greater command of voice than on Tuesday.

On Tuesday, Fra Diavolo, presented for the first time since 1858, brought back Sig. Eonconi as Lord Allcash. The cast has undergone some changes, Mad. Miolan-Carvalho being substituted for Mad. Bosio in Zerlina, andMdlle. Corbari for Mdlle. Marai in Lady Allcash. The other characters are sustained as before. While some parts of the opera went to perfection, we confess to have heard a better performance of Fra Diavolo at the Royal Italian Opera. Mad. Miolan-Carvalho feeling,

Sirhaps, the responsibility of coming immediately after Mad. osio in one of that lamented singer's best parts, and consequently did not do her eminent talents justice. Nevertheless, she evidenced her supremacy as a bravura singer of the French school, and created the greatest sensation of the evening, in an interpolated air (Act II.), her execution of which for brilliancy and fluency could not be surpassed, and which obtained the only encore of the evening. Why the original air in this scene, however, should be rejected, we are at a loss to conceive, as it is one of the most beautiful in the opera.

Signor Ronconi's Lord Allcash is not only one of the most remarkable impersonations of modern comedy, but certainly the most varied. It is no use specifying its points on any given nights; the next performance presents something entirely new and undreamt of. It is, however, invariably artistic, and, although occasionally exaggerated, irresistibly comic. To describe what Signor Ronconi did on Tuesday might only lead to expectations never to be gratified, 60 seldom does he repeat himself. We need say no more than that his acting was never more instinct with fun and drollery, and that the audience was kept in a roar of laughter wherever he was on the stage. Sig. Ronconi modified in some respects the costume of the English nobleman. The last dress, as a caricature of the outri taste of some English travellers, is a masterpiece.

Signor Qardoni sang the music of the Marquis with exceeding grace and finish, and acted with bis accustomed ease and intelligence. He gave the serenade ■ Young Agnes," with infinite sweetness, and was applauded with the warmth due to his merits. Mdllc. Corbari is by far the best Lady Allcash we have seen. She not only sings the music more effectively, conscientiously adhering to the text of t he composer, but acts with

Eeater animation and etprit, and looks the pieudo fashionable ly to the life, assuming languishing airs and graces when in repose with true artistic instincts, in every instance displaying an amount of dramatic intelligence for which she has not hitherto been credited. The Giacomo of M. Zelger, the Beppo of Signor Tagliafico (two such thieves are almost enough to engender a certain degree of respect for the profession), and the Matteo of Signor Polonini were, as usual, incomparable in their way; and Signor Neri-Baraldi was correct and painstaking in the music of Lorenzo. The taltardlo in the third act was danced to perfection by Mdlle. Zina Richard and her associates.

The house was full, though not crowded, but the applause was hardly so enthusiastic as might have been desired by the lovers of the greatest masterpiece of the Opera-Comique. Why, too, was the overture taken so fast, from end to end?

CRYSTAL PALACE. Grand Pkrpormancb Of Mendelssohn's "elijah." Many and various were the opinions expressed as to the result (musically speaking) of the performance of Elijah by an orchestra and chorus on the Handel Festival scale. The work itself, containing some of the broadest and most colossal choruses extant, would, it was universally admitted, gain much by the multiplicity of performers, but the delicacy and intricacy of the greater part of the work would prevent the version of the "Three Thousand" attaining its proper effect, and the audience (of about 20,000) would not do justice to a masterpiece of the last giaut of the art, as it is far removed from the

ad captandum style of writing, which, generally, obtains with the masses, as it is possible for a creation of unshackled genius to be. These three of the multifarious expectations were exactly realised. The performance of both band and choruses was beyond all praise; the "Help Lord" and its clear transparent coda " The deeps afford," the bold "Yet doth the Lord," and the solid and sublime mountain of harmonic effect, "For He the Lord our God;" the melodiooi and graceful "Blessed are the men;" the three "Baal" choruses; and the hymn of joy, "Thanks be to God," were done with an effect unsurpassable. Yet the instrumental partaof these pieces were in many places undistinguishable by the audience, which was, despite the deficiency, of a remarkably apathetic character on this occasion. The choruses of the second part, which are among the most difficult passages ever written for a large body, were, to the musical ear, the moat effective achievements of the day. This alone shows that no further practice of the choir will do more for the work. The "He watching over Israel" and "Behold God the Lord" were very striking, the one from its delicacy and the other from its difficulty.

The soloists exerted themselves to a degree commensurate with the area. Mdlle. Parepa was particularly successful in the enormous room. Her "Hear ye, Israel," deserves particular notice, as it is with us a test, and a severe one, of a singer, being the most splendid piece ever written for a soprano voice. She has fully appreciated its grandeur; and, after a few more timea of performance, will vocalise it better than at this, her first attempt. Madame Sainton-Dolby delivers the Jezebel recitatives "O, rest in the Lord," as she alone can. The whole range of musical expression is within her grasp; in all, from the tragedy Queen of Ahab to the soothing notes of the Angel, Madame Sainton is unapproachable. The encores awarded by the elsewhere unenthusiastic listeners were to the last-named aria, and to "Then shall the righteous." Mr. Sims Beeves, the only tenor singer living who can produce an effect on so large an audieuoe, was more than ever admirable. In the two airs written for him, he was inimitable; and his recitative delivery was as forcible as ever. The prophet, by Signor Belletti, well sustains his great reputation as a master of the vocal art. The quartets and minor pieces were done by the clever and musicianly Miss Fanny Bowland, Miss Palmer, of the rich voice, Mr. Lewis Thomas, our real bass, and almost our only one.

What shall we say then J That Elijah is more effective in Exeter Hall than at Sydenham, granted; but we would not have missed the performance yesterday for any temptation that might offer. It is still, as ever, the grandest production of a mind replete with the experience of all who had gone before, of a genius the most original and prolific, of an invention the moat ingenious. It will always rival any work we have by any composer whatsoever; and as a masterpiece of instrumental management and colouring, it stands alone.

In the evening the statue of Mendelssohn was unveiled, and a poor affair it is ; and a selection from his works was performed by a military band, with some peculiarities as to tempo that were in keeping with the sculptor's achievement.

MONDAY POPULAR CONCERTS. Ths programme of last Monday was not only quite as unexceptionable as any of its predecessors, but had the additional recommendation of novelty in its favour, no less than four pieces out of the eight being presented for the first time at the Monday Popular Concerts, and one, indeed, for the first time in this country. The directors are earnestly working the rich and apparently inexhaustible vein of good music, much of which has but too long been neglected, under a false notion that the public is incapable of appreciating anything more elevated than ad captandum " odds and ends." However, we may safely say, ?ious avons changi tout cela and most effectually indeed have we changed it, so far as the Monday audiences at St. James's Hall are concerned.

The Concert opened with a welcome novelty. Dussek's stringed quartet in E flat, which had never before been heard

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