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M'Clellond, 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 prooeeds 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 tho fact, that tlio festival is not merely a' great musical demonstration, bnt a medium through which, it is expected, a surplus will be available for the most important charities connected with the West of Scotland.
"Kor the information of those who may not be conversant with musical matters in Glasgow, it will bo satisfactory to describe, shortly, the character and objects of the Society under whoso auspices the proposed festival will be conducted. The Glnjgow Choral Union was instituted in 1813, for the purpose of diffusing a knowledge of classical 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 oharacter 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 Maccabams, Creation, and Elijah, besides the Dettingen Te Ileum, the Lobgesang, Mendelssohn's Antigone, and other miscellaneous works of Handel, Haydn, Mozart, Mendelssohn, Spohr, Horsier, &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 ft) 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 oharitable purposes. And it is important to add, that the society is composed entirely of amateurs, and thnt the exertions of the members are disinterested ; gentlemen pay an annual subscription, and no member derives pecuniary benefit."
The aboye 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 tho organ; Mr. H. Albert Lambert (organist of Glasgow Cathedral), to be conductor. The executive committee is composed of the members of tho Glasgow Choral Union j the trustees of the Festival Fund are as follows :—
Alexander Harvey, Esq., Govanhaugh.
James M'Clelland, Esq, President of the Institute of Accountants 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 bo 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. Blagrovo (Principal), J. H. B. Dando, 3. T. Willy, J, T. Corrodus, Pollitzer, R. Clementi, J. B. Nadaud, Jacquin, Wickett, Mnx. Vogell. Second Violins.—Messrs. W. Watson (Principal), J. Newshntn, K. Perry, S. Bort, J. Schmidt, J. Kelly, J. J. Calkin, J. P. Colchester, J. ii. Tourneur, Zerbini, jun. Violas.— Messrs. K. Blajrove (Principal), W. H. Webb, J. Westlake, Boileau, Tolhurst, W. W. Wand. Violokcblt.os.—Messrs. G. Hausmann (Principal), W. V. Reed, Daubert, A. Guest, Goodban, H. R. Reed. Contba-bassbs.—Messrs. J. Howell (Principal), J. Reynolds,!1. Edgar, W. J. Oastell, Blakiston, J. P. Waud. Flutes.—Mesam. R. S. Pratten
(Principal), and Rockstro. Oboes.—Mesars. A. Nicholson (Principal) mid T.; Smith. Clakionbtb.—Messrs. H. Lazarus (Principal) and Tyler. Bassoons.—Messrs. Anderson (Principal) and Nobbs. Hobns. —Messrs. C. Harper (Principal), J. W.Standen, Hay ward, A. Kielbach. Trumpets.—Messrs. T. Harper (Principal) and J. B. Irwin. TbomEones.—Messrs. Huwkee, Webster, Healy, jun. EUTHOKIUM.—Mr. Phascy. Dbums. 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 :—
Tuesday evening ... ... Elijah.
Wednesday evening ... Grand Miscellaneous Concert.
Thursday evening... ... Gideon.
Friday evening ... ... The Messiah.
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 Ball, on' the evening of the 19th instant (Thursday), our readers may possibly like to know how Mr. Horsley (or rather, the Rev. Archer Gumey, his poet) has arranged the materials yielded by the subject he has had to treat. We therefore append a digest:—
"The subject of tho oratorio is taken from the sixth and four following chapters of the Book of Judges, and forms, with a few inevitable modifications, a somewhat faithful reproduction of the sacred narrative.
"The poem comprises three parts :—The first is opened by tho wailings of the people of Israel for their sins, under tho dread of tho invading hosts of Midian, followed by the denunciation of God's auger 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 Zillali. We then trace the fears and aspirations, in solitude, of Gideon, and his call by angels to the field i the overthrow, by himself and his servants, of the altar of Baal, the erection of nn altar to tho Lord, with songs of praise; and tlie part concludes with a chorole, sung in the dead of night, by the servants of Gideon, to the honour of the Lord Jehovah.
"In the second part,—we have the fierce cries of the worshippers of Baal—thajr demand for vengeance upon Gideon,—the reply of his father Joash,—and the summons of Israel to tho 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 i ho descent of Gideon, with his servant Phurah, into the enemies' camp, and the prophetic dream or vision of tho man of Midian, the final judgement, ushered in by the divinely-ordered war-cry,—*jThe swor.l of the Lord and of Gideon,' is depicted through the medium of choruso<, uttered by angelic witnesses; and the poem concludes with the triumphant return of the conquerors, and tho prophetic and exultant lays of Zillah and her companions, forshailowing 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 traceB, here and there, of the dramatic conduct of Elijah and of Eli—certainly looks promising. At any rate, if rumour Cits 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 towns :—
Stalls, in area and side galleries (seats numbered), single =£0 15 0
Family tickets (admitting four) ... ... 2 15 0
Portion of side galleries, second scats in area, and front of
west gallery (benches numbered), single tickets ... 0 10 6 Serial Tickets, transferable (admitting one to each concert) 1 16 0 Back of west gallery and promenade (unreserved), single 0 5 0 And now, as with paste and scissors we have rendered our own copy of the Glasgow prospectus to all intents and purposes valueless, perhaps the Festival Committee will have the courtesy to forward us another, courier par courier—in other words, immediately after they receive the present number of the Musical World.
TUST PUBLISHED.—Eight Ballads by Adolfo Ferrari,
*l price 2s. each :—
No. L "SWEET DAYS OF YOUTH."
2. "LONG YEARS OF CARE."
3. "WHEN MID THE FESTIVE SCENES WE MEET.'
4. "BREAK NOT BY HEEDLESS WORD THE SPELL," for contralto or
barytone, fi. "SWEET HOPE."
8. I LOVE THE OAK," for contralto or barytone
London: Duncan D.ivison find Co., 244, Re gout-street, W.( Where may be obtained Two Chamber Trios for soprano, mezzo-soprano, mid contralto: "Come sisters, let us dUuiceand8ing,"2s. Od. "Come, fairies, come, tho stars shino bright," 2s. Gd. Three Italian Songs: "Vieni, Vienl," serenade, 2a.; *'L' onda cbo inonnora, romance, 2s. 6d.; Ah, so placer roi vuoi," romance, 2s.
Just published, in post 8vo., cloth,
A COLLECTION OF WORDS OF 2,270 ANTHEMS,
A with 4fiJ Biographical Accounts of Authors, Ac, 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 bo happy to make arrangements for tho supply of a number of copies to any cathedrah or other church, either in cloth or sheets.
EW SONG FOK CHRISTMAS.—« THE CHRIST-
"The Christmas Rose! Tho Christmas Rose 1
When winds have swept the gay parterre.
This flower is liko the joys that shine.
In Soitow's hour and life's decline,
When youth hath passod and pleasure flown.
And sad the spirit sigh* alone;
Tbcu marvel not that thus 1 twina
My thoughts around this gift of thine,
And muse on hopes and joys that last,
And bloom through life's most piercing blast."
"As graceful and vocal a song as we have met with for a long time." World.—London: Duncan Davison, 244, Regent-street, W.
inn DANCES FOR PIANOFORTE, 2s. 6d.—Just
lyU ready, BOOSETS' NATIONAL DANCE-COOK, containing 100 Kools, Country Dances, Jigs, Strathspeys, *c, for Pianoforte, largo sizo, 2s. 6d. Also, just published, Strauss' 25 best Waltzes, 2s. 6d. Boosey and Sons, Hollcsstroot.
CHARLES LUDERS' COMPOSITIONS.
FOR THE PIANOFORTE.
SIX ROMANCES ANGLAlSES, Op. 2T 0 0
LA CAPRICIEUSE, Grand Valso, Op. 31 SO
LA DANSE DES SORC1ERES, Op. 33 8 0
GALOP, Compost pour le Roi dePrusse, Op. 84 8 0
LA TARENTELLE, Op, 41 (DedUSo 1 Ferdinand Pracgcr) 8 0
LE CORSAIRE, Op. 42, Mdlodio historiquo (Dcdico & Edouard Rocckel) .. 3 0
Voice And' Pianoforte.
L'EMIGRE IRLANDAIS, Ballad, translated from tho English poom of
Lady Dufferiu by tho Chevalier do Chatclaiu. Suug by Miss Dolby .. 3 0
LONDON: DUNCAN DAVISON, 244, REGENT-STREET.
PU£E SCOTCH MALT WHISKIES,
ARE CHEAPER, MORE WHOLESOME, AND PAR SUPERIOR TO THE FINEST FRENCH BRANDT.
ROYAL BALMORAL, a verv fine mild, and mellow spirit .. 15s. per Gallon. THE PRINCE'S USQUE13EAUGH, a much admired and) ...
delicious spirit t" 10s' Aro"
DONALD DUNCAN'S Celebrated Registered DD. Whiskey ) „. D
of extraordinary quality and ago ) '''
Two gallons of cither of tho above sent to any part, or sample forwarded for 12 postage stamps. Terms cash. 4, Burleigh-street^ Strand, W.C.
BACHIANA, Preludes and Fugues, by John Sebastian Bach (not included in the 48 preludes and fuguos), as played at nil the olossical concerts, in six numbers, each 2s. London: Duncan Davison and Co., 244, Regent-street, W.
THE HARMONIOUS BLACKSMITH. Composed by Handel for the Pianoforte from his suite de pieces in E major. The only correct edition, as played at all the classical concerts, ia published, price 2s., [by Duncan Davison and Co., 244, Reyent-streot, W.
NEW SACRED SONG, "Awake, little Pilgrim." Composed by Maurice Cobham; the poetry by the Rev. D. T. K. Drummond. Price 2s. Od.
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 tho night shadows falling proclaim thec too late.
Knock, little pilgrim, it shall not be vain.
MEYERBEER'S Setting of the "Lord's Prayer," for four voices (soprano, alto, tenor, and bass), is published, with English and Latin text, in score, 3s., separate vocal parts, 6d. each, by Duncan Davison and Co., 241, Regent-street, W.
SIMS 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 the Pianoforte. Price 2s. London: Duncan Davison and Co., 244, Regent-street, W. "Mr. Thackcry's Ethel Neacombe 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!"— Daiiy Nevt.
TJRINLEY RICHARDS'S "STJLIOTE WAR SONG."
-U Sung by Mr. Sautloy. Price 3s. London; Duncan Davison and Co., 244, Regent-street, W.
BRINLEY RICHARDS'S "HARP OF WALES," Snntr by Mr. Sims Reeves. Frico 2s. <kl. London: Duncan Davison and Co., 244, Regent-street, W.
GLENFIELD PATENT STARCH,
USED IN THE KOYAL LAUNDRY,
BALFE'S NEW SONGS.
"OH! TAKE ME TO THY HEART AGAIN!"
Poetry by Jrssica Rankin.
Oh! take me to thy heart again!
I never more will grieve thee;
If I indeed must leave thee.
This wayward heart hath spoken;
So lightly could be broken.
Ob.! tike mo to tby heart again,
I think how very sad and lone
This life would bu without thee;
Aro cloaely twined around thoo.
That wounded thee so blindly;
Who smikd on me so kindly.
Then take uio to tby heart again.
"I'M NOT IN LOVE, EEMEMBER."
Poetry by Jessica Rakkin.
Prttbce tell mo, gentle air.
And why no pleasures charm me?
His arrows cannot harm me!
I try to sing—my voice is sad!
I sleep 1 bnt then 'tisjust as bad-
Can you not tell? nor you/ nor you?
Oh then I know not what to do
I sometimes think, if " J know who"
To bid the demon slumber!
I'm not in love, remember.
BOOSEY AND SONS, HOLLES STREET, LONDON.
Ik giving an answer to the unfair statements which Messrs. Chappell and Co. have lately published, Boosey and Sons would like to know what right those gentlemen have to constitute themselves their critics, and to subject them to the expense and trouble of answering a series of false assertions, which Messrs. Boosey could only respond to in a court of justice, unless they availed themselves of the present means of totally denying them.
Although confident that the animus of Messrs. Chappell's attack, and the absurdity of their statements, will be thoroughly appreciated, still, to avoid all possible misunderstanding, Messrs. Boosey beg again most distinctly to deny having ever published a testimonial obtained from the exhibition of an Alexandre Harmonium. Every testimonial which they have published (with two exceptions) has been given since the establishment of their own manufactory, and after the examination of a large stock of instruments. The two exceptional testimonials were given to Mr. Evans, when he introduced for the first time his improvements, and which, as already stated, were added to the skeleton of an Alexandre Harmonium, which he had entirely reconstructed. If these alterations consisted in filing the reeds, it is quite obvious that M. Alexandre, or any other maker, could produce equally good instruments as those of Mr. Evans, which hitherto they have not been able to approach.
The public may not care to know anything about Messrs. Boosey's manufactory, but as Messrs. Chappell have alluded to it, it is necessary to state that it was opened in January last, when Messrs. Boosey's connection with Mr. Evans began.
Owing to the very great demands for his Harmoniums, it had to be removed to more extensive premises in October, a fact which will account for Messrs. Chappell describing it as a few weeks old, and for their animosity in attacking Evans' Harmoniums. As to Herr Engel, Messrs. Boosey now repeat (what they are prepared to prove) that he offered them his exclusive services to perform on Evans' Harmoniums at the termination of his engagement with his present employer, M. Alexandre, in February next: a fact which they alluded to not as a compliment to their Harmoniums, but as a proof of the worth of any opinion of Herr Engel, whose assertions that Messrs. Boosey applied to him for a testimonial, and admitted to him that Mr. Evans exhibited an Alexandre Harmonium as his own, are totally without foundation.
In order to understand the value of the authorities quoted by Messrs. Chappell, it should be known that, not only is Herr Engel the salaried agent of M. Alexandre, but Dr. Rimbault (whose name they have united with his) is regularly in the employ of Messrs. Chappell; while the firm of Cramer, Beale, and Co., includes a member of the Chappell family among its partners. These are the authorities Messrs. Chappell have thought fit to quote in support of their false assertions, while professing to expose the improper use of testimonials by others. Messrs. Boosey and Sons are prepared to give a flat contradiction to the whole of the statements of these gentlemen, and beg to quote a letter just received from Mr. Cipriani Potter, who (according to Dr. Rimbault) gave Mr. Evans a testimonial two years ago on his exhibiting an Alexandre Harmonium as his own in Dr. Rimbault's presence :—
39, Inverness Terrace, Bayswater, W., Dec. 29,1859. Dbab Sib,—As there appears to exist some misunderstanding relative to my testimonial of your "Harmoniums," I beg to state in explanation, that, having received an invitation from you to inspect them, I called in your shop in Holies-street last April, and examined them in the presence of yourself and Mr. Evans. Mr. Evans tried them, and explained to mo their peculiarities and improvements, with which I was very much pleased, and, in consequence, sent you a testimonial to that effect.
I remain, yours truly,
To C. Boosey, Esq. CIPRIANI POTTEE.
After reading the above, the public will not be surprised to learn that the professional gentlemen who have signed Messrs. Chappell's document, stating that they have examined the instruments side by side—have never once visited Holies-street, to inspect Evans' Harmoniums. Their opinion may be therefore estimated at the same worth as the statements of Herr Engel and Dr. Rimbault.
Evans' Harmoniums are used at the Royal Italian Opera, Covent Garden, by direction of Mr. Costa, who has paid frequent visits to Boosey and Sons' establishment, to examine the various instruments, and the many novel features they present. Mr. Costa's high opinion of these Harmoniums is shared by every independent member of the Musical Profession, the Clergy, and the Press.
Feeling perfectly satisfied with the decision at which the public has already arrived, as to the merits of Evans' Harmoniums, it is Boosey and Sons' intention to avoid further discussion by treating with the contempt they merit any future attacks of disappointed rivals and prejudiced professors.
EVANS' ENGLISH HARMONIUMS'
TESTIMONIALS AND CRITIQUES.
From the Rev. Henby F. Wabble.
Gentlemen,— I most willingly add my testimony to the worth of your Harmoniums. I consider them pre-eminently superior in tone to any others I have ever tried; while their external and internal finish is aqually iu advance of other instruments at the same price. Their peculiar merit seems to me to consist in the absence of that metallic, cacophonous drone which has always been with myself the peculiar drawback of Harmoniums; and I can scarcely conceive any note*, not actually coming from pipes, moro clear and soft than those of the Instruments manufactured by you.
Equally successful are the larger instruments to which you have applied the hitherto peculiarly Organic appendage of Pedals; and though of course no instrument can ever supply the place of a good organ, nor any mechanical contrivance can ever supply the want of the 32-feet pipe, I am of Opinion that the Organ Harmoniums I had the gratification of hearing at your Works came as near the grand instrument as anything can; and I strongly advise that when the funds for a new organ arc under £100, your Organ Harmonium should be adopted, as most effective and most likely to afford permanent satisfaction.
I remain, Gentlemen, yours truly,
Henky J. Wabdle, M.A. Precentor of the Forest School, Walthamstow.
Messrs. Boosey and Sons.
From the Rev. Mark Newby.
The Rectory, Crosby Garrett, Westmoreland, Dec. 19th, 1859. The instrument gives great satisfaction. I have |heard 'many, but never one, however high in price, that I liked at all comparably to this, in point of sweetness, clearness, and harmoniousness of tone. I have great pleasure in remitting you the price in a ten-pound cheque.
From the Rev. A.JE. Powleb, Widdington, Essex.
I hereby certify that Messrs. Boosey and Sons have supplied us with one of Evans' Harmoniums with ten stops, which is now placed in our church, and I have great pleasure in stating that tho instrument is highly approved for its excellence of tone, and for its great power—being quite equal to tilling our church and to leading the village choir.
From the Rev. H. Gale, Treborough Sectary, Taunton. Your Harmonium is infinitely superior to those of any other maker I am acquainted with.
From CttBtANi Fottkb, Esq.
Having heard your improved Harmonium, I state with much satisfaction that the advantages I discovered were numerous, the agreeable smooth tone, void of all harshness j the quality of the treble with the bass retaining a proper equilibrium throughout the compass, very rare in keyed instruments; also the sound responding qnickly to the touch, necessary for the performance of different styles of music.
Tho second row of keys is a great boon for the execution of Melodies, or Solo parts with an accompaniment, often avoiding the necessity of crossing the hands. With all these advantages your Harmonium must become a drawing-room instrument.
From Professor Stebndalb Bennett. I have tho greatest pleasure in giving you my opinion upon your improved Harmonium. The instrument you left with [me I enjoyed playing on extremely, and several professional friends who saw and heard it at my house, agreed with me entirely in considering your improvements very striking and valuable. I must confess that I had before entertained some prejudice against this class of instrument, from its monotonous character, but which you have now completely removed.
From Alfeed Mellon, Esq.
I have much pleasure in giving yon my opinion upon your Harmonium; it is the best instrument of the kind I have ever heard.
From Henby Smabt, Esq.
I have examined the Harmonium with the modifications introduced by Mr. Evans, of Sheffield, and have no hesitation in giving a high opinion of its quality and capabilities. Its tone is more than ordinarily delicate, and yet with sufficient power for any purpose to which instruments of this description can fairly be applied; while satisfactory means are adopted to ensure punctuality of articulation without the use of what is termed the " percussion action."
The Harmonium, in particular, as arranged by Mr. Evans with two claviers, is a great improvement on the ordinary construction, and will be found capable of beautiful effects.
From M. W. Balpb, Esq. IwastrulydelightedyesterdayliBteningtoyournewHarmonium. I think it perfection, and feel quite Bure of your carrying all before you with it,
From W. T. Bbst, Esq.
The improvements made by Mr. Evans in the construction of Harmo niums are important and of great value.
One of these instruments, with two claviers, and a pedal board, would be a much better substitute for the Organ in a drawing-room than thg ordinary Chamber Organ with four or five stops.
From the " Mobnino Hbbald." English HAEMONnxMS.—Our attention has been called to this instrument, in consequence of what we consider tho great improvement effected by Mr. Evans. The impression left on our mind, after hearing the French harmonium in public, was anything but favourable, from the monotonous nasal tone.deficiency of power, and the style of music attempted. We certainly consider the province of the harmonium to be that of sacred and sustained music, and not the flippant style we heard on the occasions we allude to. On hearing Evans' improved harmonium we were greatly surprised at the quantity and quality of tone; and we fully concur in the opinion expressed by many of our first organists, that it is by far the nearest approach and the best substitute for the organ that has yet been brought before the public. We were struck with, we may say, the majestio effect of the full organ, while the delicacy of the swell was charming. To Mr. [Evans we are indebted for having produced an instrument calculated to improve our psalmody, and raise the taste for a style of music hitherto difficult to produce in the social circle. We allude to the concerted works of the great masters written for the organ, the effect of which can be very faithfully given on the improved harmonium.
From the "Illustrated London News." We have examined several of the most recently constructed of these instruments, and have been greatly struck with the improvements which, during the course of nearly twenty years, Mr. Evans' persevering efforts havo succeeded in making. The great difficulties with which ha has to contend were the harsh metallic tone caused by the peculiar mode of generating sound; the inequality in the scale arising from the preponderance of the bass over the treble; and the slowness of the sounds in answering the touch of the keys, whereby an effect of heaviness was produced, and light, rapid passages were almost impracticable. These defects have been got rid of in a surprising manner. The tone, throughout the entire compass of the scale, is pure, sweet, mellow, and free from that nasal sound which has hitherto clung so obstinately to the instrument, while the mechanical action has become so prompt that the most brilliaut pianoforte music can be executed with clearness and precision. The impressions which we derived from our observations are entirely consonant with those of some of our greatest musical authorities who havo borne testimony to the qualities of the instrument.
From the " Clebical Joubnal." There is yet another and a more extraordinary one named " The New Patent English Model Harmonium," (with two rows of keys j and, as If to anticipate every want of the highly-skilled as well as of the less-gifted organist, this admirable deputy for the king of instruments is supplied with a complete set of German pedals of two octaves and a fourth, with independent pedal reeds—so that the Organo-Harmonium, which owes its paternity to Mr. Evans, may and ought to be considered as the ne plus ultra of the art, as it is in fact the nearest approach to the organ, both iu point of delicacy, beauty, and usefulness, that has hitherto Courted public examination.