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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 tbs 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 of any other master, great or small.
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. Blight'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 Napoleon to the Imperial throne would probably pronounce in favour of "La cus-quette du pere Bugeaud" if called upon to choose between that and "II 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.
Barely 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 exjiressing 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 yeai-s 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 fh-st 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 iu 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 29
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 supjwsed decease of Albert Smith was one of the moumfulest 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 itBelf 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—lime 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.
This 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 mora 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 colebrated 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, generally resulted in pecuniary loss, and as a natural consequence, works of that class have been produced less frequently than their pre-eminent merit demands. But during the last few years a gratifying improvement has been perceptible in the public taste; an increased interest has been manifested in the highest class of music; and it is therefore believed, that the time has now arrived when the design of a musical festival will obtain adequate support, and bo regarded as an appropriate 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 national music, the result of such a festival must operate powerfully in advancing the study of music, and in extending its elevating 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 of the funds of tho Glasgow Royal Infirmary and the Asylum for the Blind. The musical arrangements are on a scale suited to the 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, Joieph, and other sacred works, will bo produced for the first time, along with the Messiah and the Elijah,—the chefs-tfatuvre of Handel and Mendelssohn. It is apparent, however, that the practice followed on such occasions in England, where the oratorios are generally performed duriDg 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, Madamo 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/oar 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 soy 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 1700 to 1800 persons. From calculations made by the directors, however, it was found that they were in a position, from various circumstances, 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 increasing their subscriptions, in which event a corresponding supply ot additional tickets will be issued.
"The Subscription Book closed on the 21st December, and the remaining tickets will now be issued by Messrs. J. Muir Wood aud Co., 42, Buchanan-street, Glasgow. The subscriptions are deposited in the Commercial Bank of Scotland, at Glasgow, in an account styled 1 The Festival Fund.' And, in conjunction with the treasurer and secretary of the Choral Union, Alexander Harvey, Esq., Govanhaugh, Jams' M'Clelland, Esq., accountant, and William Paul, E«q., 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; ana the attention of the public is respectfully directed to tlio fact, that tlio 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 bo conversant with musical matters in Glasgow, it will be satisfactory to describe, shortly, the choracter and objects of the Socioty under whoso auspices the proposed festival will be conducted. The Glasgow 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 tho 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 Maccabaus, Creation, and Elijah, besides the Dettingen Te Deum, the Lobgesang, Mendelssohn's Antigone, and other mUcellaneous works of Handel, Haydn, Mozart, Mendelssohn, Spohr, Horsley, &c. And though many difficulties havo 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 at 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 importsnt 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, 2Gth, 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 the Glasgow Choral Union; the trustees of the Festival Fund are as follows :—
Alexander Harvey, Esq., Govanhangh.
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 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. Clcmenti, J. B. Nadaud, Jacquin, Wickott, Max. Vogell. Second Violins.—Messrs. W. Watson (Principal), J. Newsham, K. Perry, S. Bort, J. Schmidt, J. Kelly, J. J. Calkin, J. P. Colchester, J. IS. Tournour, Zerbini, jun. Violas.— Messrs. R. Blasrove (Principal), W. H. Webb, J. Westlake, Boileau, Tolhurst, W. W. Wand. Violoncellos.—Messrs. G. Hnusmann (Principal), W. F. Reed, Daubert, A. Guest, Goodban, H. R. Reed. Contra-bassbs.—Messrs. J. Howell (Principal), J. Reynolds, T. Edgar, W. J, Castell, Blakiston, J. P. Waud. Flutes.—Messrs. B. S. Pretten
(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 (Prinoipal), J. W.Standen, Hay ward, A. Kielbach. Trumpets.—Messrs. T. Harper (Principal) and J. B. Irwin. TromBones.—Messrs. Huwkes, Webster, Healy, jun. EUPHONIUM.—Mr. Phnsey. 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 :—
Tuesday evening ... ... Elijah.
Wednesday evening ... Grand Miscellaneous Concert.
Thursday evening Gideon.
Friday evening ... ... T/'ie 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 tho 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 tho materials yielded by the subject he has had to treat We therefore append a digest:—
"Tho 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 the 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 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 to the field; the overtlirow, by himself and his servants, of the altar of Boal, the erection of nn altar to tho Lord, with songs of praise j and the part concludes with a chorale, 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 liaal—thtsjr demand for vengeauco upon Gideon,—the reply of his father Joasb,—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 answoriug 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 bis own heart. And after n sceno embodying the descent of Gideon, with his servant Phurab, 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 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 bat 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,
■DRINLEY PJCHARDS'S "BLIND MAN AND
: SUMMER." Sung by Mi.<s Palmer. Pric: 2s. 6d. London: Duncan Davison and Co., 244, Regent-street, W.
REICHARDT3 "THOU ART SO NEAR AND YET 80 FAR," sung by the Composer, with tlio most distinguished success, is published, price 3s., by Duncan Davison and Oo., 244, Regeut-wtrect, W,
REICHARDT'S "ARE THEY MEANT BUT TO DECEIVE ME," sung with the greatest eclat by the composer is published, price 2s. 6d., by Duncan Davison and Co., Hi, Regent-street, W, .
"T WOULD I WERE A BUTTERFLY." The New
JL Song composed by ADOLPH SCHLOESSER, now singing with the frroatost success by Madame Lernmens Sherrington, is published, price 2s. 6d., by Duncan Davison and Co., 244, Regent-street, London, W.
NEW PIANOFORTE MUSIC
THE FAIRY'S EVEN SONG," New Four-Part-Song, for Male Voices (two tenors and two basses) sung with great success by the Polyhyiunian Choir, is published, price 2s. (separate vocal parts, (id. each), by Duncan Davison and Co., 244, Regent-street, W.
BLUETTES CLASSIQUES, Selected from the Works of the great Pianoforte composers. s. d.
No. 1. DU8SEK.—"II pastore Alpigiano," Air VarWe .. ..8 0
2. 8TEIBELT.—"Papageno" (Zaubcrfloto) 2 6
3. ., "Monostatos" „ 3 0
4. DUSSEK.—"Lachasse" .. (In the Press) ..3 0 "They are quite simple, easy to execute and to understand, aud yet the most
accomplished performer and the most refined amateur will find them delightful to play."—Daily Hews.—London: Duncan Davison aud Co., 244, Regent-street, W,
BALFE'S NEW SONGS.
"OH! TAKE ME TO THY HEART AGAIN!"
Poetry by Jessica Raskin.
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.
Oh! take me to thy heart again.
I think how very sad and lone
This life would be without theo;
Aro closely twined around thoo.
That wounded thee so blindly;
Who smiled on mo so kindly.
Then take mo to thy heart again.