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"The music embroidered by the immortal Beethoven on this palo canvass"

["Milne embroidered on a pale canvass!" — Here is a muddling of idioms!]

"The music embroidered by the immortal Beethoven on this palo canvass is as pale as the canvass itself (.') The melody of the matter is a soft melody, not noisy,* which expands itself en nappe (sheetwise?) all tranquilly and without fracas; the nappe becomes a bluo and limpid lake in which one mirrors oneself at one's ease, and as thero is no worse water than stagnant water, + so thero is no music more detestable at the theatre than music which sleeps—and induces sleep."

There reader! you have an original criticism of Fiddio at last. Delatouche should be endowed with a beard of gold and Vermillion whiskers, also with thigh-rings and a high-heeled boot (like Mario's). If there was an E less in his patronyme, he might bo anagramatiscd as Hot Caudle; but happily there are two. N'importe.

"Sonate, que me veux-lu f asked a certain philosopher (also a Frenchman) of a certain sonata that, nothing if not audible, intended him no harm in making itself heard (according to its entelechy), under the fingers of a " hammervirtuose"—as Wagner would say. Delatouche, too, has Ids notions of a sonata, and thus unburdens himself:—

"One likes to hear a sonata of Beethoven's betwecen an air of Rossini's or of Verdi's, and a chanson of Nadaud's. This broad and tender music relaxes, so to speak, the soul, and reposes it after the comic and brilliant. It is like an opium-pill, discreetly administered to a sick person after a day of agitation. Give to the sick person ten pills of ettrait thebaique (vernacular-o^ium), and you run tho risk of killing your unhappy patient. Thus does the Fidelio of Beethoven. In short—except tho chorus of Bick persons (chaurs des malades%), tbo introduction to the third act—a sort of march in the stylo of that of Wbbeb in the Enlevement au Sdrail" (Mozart's Seraglio!) "together with the two prayers Bung by Madame Viardot and Guardi— and the rest is not worth the honour of being cite J, nor even of being heard."

Then follows a critique of tho performers. "Madame Viardot," it appears, "completely failed in the final sextuor —which, to say truth, is wanting both in colour and cliarm." We take the first half of the sentence to bo as exact as the last—but no more so. The "tag" of the article wo shall present to our readers in unadulterated Delatouche :—

"Quclqu'un mo disait en sortant do la premiere representation: Voila une musique qu'adorent les Allemands, et ricn n'est plus naturel: Us s'amusent beaucoup qvtand Us s'ennuient.

"S'il y avait samedi des Allemands au Th&Ure-Lyrique, ils ont du joliment s'amuser."

FINIT CORONAT OPUS. But oh! for the anagram!

Enter Epistemo*.

Epistemon. "An anagram of Delatouche F In what language 1

Editor. In French.

Epistemon (reflecting). LOUCHE CADET?

Editor. A "c" too many. There are only ten letters in Delatouche.

Epistemon (after a pause). DE HAUT COL?

Editor. An "o" too few. There are ten letters in Delatouche.

Epistemon (becoming impatient). DUEL A ECHO—then. Editor. Where's the " t" 1 Besides, there's no accent on the "a" in Delatouche. (Epistemon gives it up.)

Enter Cabpimos.

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Carpimon. An anagram of Dalatouche? Here's one— 0 CUL DETACHfi.

Editor. Nonsense—you have a circumflex and a pair of acute accents; while in Delatouche there is not an accent of any description.

Enter Pantageuel and Pahcege.

Pantagrutl I've found it—AC HEU! DOLET.

Editor. That's good; all the ten letters of tho name, and a deep meaning in the sentence.

Panurge. I've another. AUT DELE HOC.

Editor. That's better—tho best that could be made, in

short. Atrr Dele Hoc. Let the Editor of aPPty

this injunction to the next article on Fidelio from the pen of Delatouche.

"I see no reason," said Epistemon to Pantagruel, as they sat at the Edinburgh Castle, "why thou shouldst not recreate the palates and edify the minds of thy friends, by giving a symbolical feast, after the fashion of that savoury zodiac, wherewith the wealthy Trimalchio entertained his guests."

"As it is long since I have turned over the pages of Petronins, I have forgotten the details of that elaborate foolery," replied Pantagruel.

"Why, look ye," proceeded Epistemon, "twelve figures representing the signs of the zodiac were arranged in the befitting form of a circle, and everyone was supplied with something harmonious to its character. Thus, upon Aries, the Bam, was placed a mess of tho 1 cicer arietinum,' a dainty, whereof I know nothing, but the Euglish for which seemeth to be 1 chick-pease'—a word that to me conveyeth no signification whatever; Taunts, the Bull, was surmounted by a bit of beef; a couple of kidneys, &c, were supported by Gemini, the Twins; upon Cancer, the Crab, was set a wreath, an arrangement, by the way, which has so puzzled some of the commentators, that they reject the reading Corona. Nevertheless, I am inclined to thjuk it correct, and to agree with Burmann that it signifieth the wreath usually worn by festive guests; for, shortly afterwards, Trimalchio explaineth that he liimself was born under Cancer, and that he has put nothing on the image denoting that sign, lest he should press upon his natal star. A mere wreath placed, where you would expect a comestible, is the nearest approach to nothing that you can conceive. On Leo, the Lion, lay an African fig, in allusion to the animal's birth-place; the entrails of a young sow, that had never farrowed, delicately graced the sign Virgo; cakes of two kinds were balanced in the scales of Libra; Scorpio carried a sea-fish of the same name; to Sagittarius was assigned a viand, about which there is some controversy, but we will accept Burmann's reading 'olopttam] which clearly denoteth something with long ears. This we can the more readily assume to be a hare, as there is an ancient efligy of Sagittarius carrying a hare in his arms. On this interpretation I do not strongly insist, but I decidedly object to the reading 'sclopetam,' which would denote a pop-gun, and thus humbly symbolize tho functions of the Archer. For though the guests of Trimalchio might have been tolerant of a wreath in one of the dishes, methinks that a pop-gun served in another would have stirred their wrath. Capricorn carried a sea-locust, which I am told hath horns, and I shall believe the fact till I receive information to the contrary from G. H. Lewes. That Aquarius should bear a goose, and Pisces a brace of mullets, is so natural an arrangement, that it needeth no comment. Now, I was thinking that if thou gavest a similar repast, substituting modern for antique dainties—as, for instance, putting an allowance of thick turtle-soup in one scale of Libra, and as much of the clear sort in the other; representing Sagittarius by venison"

"Talking of food," said Pantagruel, with a manifest desire to change the subject, "thou shall hear how prettily I have rendered some of the toughest bits in that satire of Horace (II. 4); where Catius instructeth the poet as to the art of feeding."

"Instead of a goose," observed Epistemon, "thou mightest give to Aquarius a pate de foie gras,"

"I begin at the 12th line," said Pantagruel, with nervous precipitancy :—

"In oblong eggs a fine male yolk is found,
They're whiter and taate bettor than the round j
Your broccoli you'll tale from driest fields,
Insipid stuff the water'd garden yields.
When unexpected guests come late to dine
Duck your lire chickens in Valernian wine
Temper'd with water; be they ne'er so tough,
You thus will make them delicate enough.
Tho choicest musnrooms are in meadows grown,
Those found elsewhere you'd better leaYO alone."

"Hush !" said Panurge, entering the room with a face so white, that it put John's napkin completely out of countenance; but Pantagruel was so pleased with the jingle of his own rhyme, that he went on with another fragment of his translation, just as if Panurge had been an hundred miles olf.

"Tho TJmbrian boar, on hardy noorns rcar'd,
By men of taste will eTer be preferred.
Insipid is the reed-fed Laurcntine,

Kids should not always nibble at the vine; j
The shoulder of a fruitful hare—how fine."

"Hush I hush 1" cried Panurge, whiter than before. Then dropping on his knees, he cried: "Desist, desist! noble master mine; thou knowest not the wrath thou art bringing upon thy head."

"Wretched grumbler, I see what thou meanest by thy maniac gestures; thou thinkest I have slurred over the line, "Curvat aper lances enrnem vitantis inertem."

"No, no!" shrieked Panurge. "I mean that thou art committing grievous wrong in rhyming about eatables at all, and that the wrath of the Atlienmum hangeth over thy devoted head."

"What madman's rant is this ?" roared Pantagruel.

"No rant, master, but the sad sober truth," replied Panurge, while big tears coursed down his ugly cheeks. "Look ye, that favourite child of the Muses, G. A. Macfarren, hath composed a cantata called Christmas, wherewith all the wise in music are delighted, saying nothing so fine hath been heard since the days of Orpheus; but unhappily, John Oxenford, who hath written the words for this sublime creation, hath so far forgotten himself as to mention eatables while describing the Christmas dinner. Now his sin in this respect is forcibly pointed out in the last number of the Athenamm. As thou, great master, did'st just now rhyme about Umbrian and Laurentine boars, eggs, mushrooms, and Apicius knows what, so did this same erring Oxenford mention puddings, boar's-heads with lemons in their mouths, and such like sensualities."

"Gross, very gross," said John the Waiter; "had he sang of the table-napkin he might have escaped censure."

"Then," said Epistemon, "the critic hath propounded the doctrine, that when thou describest a dinner in verse, thou may'st not allude to the bill of fare."

"Precisely, aud very sublime doctrine, too," said Panurge. "In the eyes of the poet, the carte must be a carle blanche in the most literal sense of the word—a plain bit of card-board with nothing written thereon."

"Happy Petronius, who wrote in prose!" ejaculated Epistemon, and then he fell asleep.

"Dost thou think the critic is the Barmecide mentioned in the Arabian Nights I" asked Pantagruel.

"Not a bit of it. He is the very reverse of the Barmecide," shouted Panurge. "That Barmecide gave nothing to eat, but he named a long list of dainties—and don't you see, it's not eating, but discourse about eating that constituteth the transgression."

"I wonder who it coxild be that originated such sour wisdom J" said Pantagruel.

"A boar with a lemon in his mouth," murmured the sleeping Epistemon, as he recapitulated in his dreams the objectionable points of Christmas.

"Dost thou think the critic of tho Atlienaum will ever see my translation of the "Unde, et quo Catius ?" asked Pantagruel, trembling like a leaf.

"I can't say," replied Panurge; "he hath a far-reaching sight. But mark how thou shalt propitiate him. I have written the words of a finale, illustrating a Christmas dinner, on the principle he hath so lucidly propounded, and thou shalt dedicate it to him as a sincere convert."

"Let me hear thine effusion," said Pantagruel, whereupon Panurge read as follows :—

Gkand Chobus. "Christmas comes but once a year,
Greet him with etherial oheer;
Hailing Christmas, let us clatter
Empty dish on empty platter;
Pass the vacant glasses round,
Mirth shall in our halls abound.
Solo. A leg of nothing with no turnips grae'd,

Is just the meat that suits the dainty taste. CnoBUS. He who eats nought may laugh the world to scorn,

He'll never grumble at the price of corn.
Solo. The dog, of whom old JEsop sung,

Preferr'd the shadow to the meat j
The latter in the stream he Hung,

And sought tho less substantial treat.
Besolv'd that nought his soul should clog,
A dog refln'd was iEsop'a dog.
Cnonus. Hail to that sage canine, I say,

Worthier of song than the poor dog Tray.
Solo Fbmalk. How blest is tho chameleon.
He only lives on air,
His colours were less vivid
If grosser were his fare.
He breakfasts on the north wind,

He lunches on the south,
The east-wind and the west wind
Are welcome to his mouth."

There is no saying how long this might have lasted, had not a disturbance arisen in a box at the end of the room. John the Waiter, inspired by the tone of the discourse, to which he had been an attentive listener, had placed before a stout old gentleman a large tray, on which were tastefully placed an empty plate and an empty glass, and had demanded a shilling for the enjoyment of the same. Hence the altercation.

Leopold De Meyer, the most accomplished pianoforte virtuoso now in Europe,has arrived in London for the season. The services of this wonderful player have already been secured for several concerts of the highest class, and among others for one of those of Mr. Howard Glover, which is to be held this year, on a grand scale, at St. James's Hall, and that of Mr. Benedict, in the Concert Room of Her Majesty's Theatre, which, as usual, will comprise all the available attractions of the period. Since his last visit to London, M. Leopold de Meyer has composed several new pieces, all of which, it is hoped, may be heard in the course of his sojourn among us. "Virtuosity" proper—since Liszt commenced preaching Wagner, and composing "ideal" symphonies for the orchestra; since Thalberg grew fat and sleek, contemplating his lands and beeves with glabritous placidity; since Henri Herz rendered up his last "double tenth" (not tooth), Dreyschock dilapidated his "gauche" (left), perforce of rapidly enunciated octaves, and Rubinstein took to playing so fast as to bo tant soit peu incomprehensible — has been fairly at a discount. The advent of such a master of his art as Leopold de Meyer will consequently be hailed by the wonder-seeking public with enthusiasm. The mere announcement of his arrival must inevitably bring back " fantasias" to a premium; and many will be the anxious peep—from eyes fairer than those of the stern and rigid, dry and masculine Gradus ad Parnassum tribe—at the front columns of the Times (and at the second page of the Musical World), to see at which entertainment the "lion-pianist," par excellence, will first shake wide his mane. This much anticipated piece of information we shall be enabled to supply in our next number. Meanwhile— patience, sweet ladies; Herr Block, Signor Cipollani, M. Durillon d'Engelure, and Mynheer Kcebul, will speedily instruct you of the incomparable Austrian's first fiasco—that is, presuming he makes one.

MR. MACFARREN'S CHRISTMAS.
{To the Editor of the Musical World.)

11, Alpha-road, N.W., May 15th, 1860. Sir,—Allow me to correct a mis-statement in your notice of the production of my cantata of Christmas at the concert of the Musical Society of London on Wednesday. You say there had been but one rehearsal for the performance, whereas there were three rehearsals of the chorus and two rehearsals of the band. I owe this explanation to the Council of the Musical Society, in acknowledgment of their having done everything that was possible to render the first performance of Christmas effective,—not only in respect of the extra rehearsals, which were given at a great expense to the Society, not only in having delayed the production of the cantata—which had been proposed for an earlier concert —until the two ladies whom I wished to sing the solo parts were in London, but in many acts of careful consideration, eminently flattering to me, and, I believe, advantageous to the effect of the composition. As I am confident that your assertion was made under an erroneous impression, I trust you will kindly find space for this reply.

I am, Sir, obediently yours,

G. A. Macfareen.

St. James's Hall,—The annual performance of the Messiah, for the benefit of the Royal Society of Muaiciaus, was given last night, under the direction of Professor Sterndale Bennett, and attracted a very numerous audience. The principal vocalists were Miss Parepa, Madame Weiss, Madame Rieder, Miss Augusta Thomson, Miss Eleonora Wilkinson, Miss Clara Smythson, Miss Lascelles, Madame Sainton-Dolby, Messrs. Wilbye Cooper, Montem Smith, Mr. Santley, and Mr. Weiss.

HER MAJESTY'S THEATRE.

Rigolctto, on Saturday, introduced Mdlle. Brunetti and Signo1" Sebastiano Ronconi, as Gilda and the jester, on their firs* appearance in this country. The lady is young and a novicei having made her debut last year at the Grand-Opera of ParisShe is a pupil of M. Duprez, and does credit to her teacherMdlle. Brunetti's voice is a high soprano, clear in quality, and not betraying any peculiarity of the French school, but produced fairly from the chest. As a first display, her performance was entitled to encouragement, an occasional tendency to sharpness being ascribable to natural timidity. Her success was decided, and we are mistaken if, before long, she does not become an especial favourite. We may add, that Mdlle. Brunetti is prepossessing in appearance, and ladylike in deportment.

Signor Sebastiano Ronconi is a brother of the renowned Georgio. His voice, the least estimable of his recommendations, is a barytone of no remarkablo quality, wanting in power, and tremulous. These deficiencies, however, are compensated by much tact and by a dramatic force which belongs to true instinct. Signor Ronconi's conception of Rigoletto is intelligent if not forcible. As he has been indisposed since his arrival in England, we are not justified in criticising his performances at present. In two or three instances he was highly impressive, and touched the sympathies of his audience.

Signor Mongini's voice and style are well adapted to the music of the Duke, and his singing on Saturday exhibited its wonted vigour. The three airs were admirably given, especially "La donna 0 mobile," which was encored. The duet with Gilda, however, was vehement, Signor Mongini wooing, as it were, in thunder. His deportment, indeed, was rather that of the lion than the dove.

In the ball scene, Mdlle. Pocchini and M. Durand gave the dance from J^leur-des-Champs, and the lady was encored in one of her "pas."

II Barbiere on Tuesday would havo been better for a rehearsal, Signor Everardi appearing as Figaro for the first time, and Signor Castelli ditto, as Doctor Bartolo. Signor Everardi's Figaro is constrained, but allowance must be made for a first attempt in a part almost as difficult as Don Giovanni, in which we have seen both Tamburini and Ronconi. Signor Everardo, however, sings the music admirably. Madame BorghiMamo is a charming Rosina, executing the music to perfection and acting with spirit and naiveli. Her "Una voce" could hardly be surpassed in many respects, while the lovely quality of her voice was heard to greater advantage than ever in the genial music of Rossini. The changes she made in the text, however, were, in no instance, improvements, and there is less excuse than there would be for a genuine soprano. Madame Alboni is the best example of what may be effected by a scrupulous adherence to the text. In Rosina she scarcely alters a note of the original, and yet no one sings it with so much effect. In the Neapolitan air (lesson scene), Madame Borghi-Mamo created the utmost enthusiasm. Few artists could siug it so brilliantly, none with more delicacy and finish. Her descending chromatic scale, near tho end, was one of the most perfect things of the kind we have heard.

Signor Vialetti, with less exaggeration, would have been excellent as Don Basilio. Rossini did not intend " La Calunnia" to be burlesqued.

A new ballet of action was produced for Mdlle. Pocchini on Tuesday with undoubted success. We will not say that it is worthy of her extraordinary abilities; nor that it is a ballet of the first or even second class; but it is a stop iu the right direction, and affords the great danseuse a chance of doing something more than exhibiting mere agility and grace. Mdlle. Pocchini is equally gifted as a mimic and a dancer, attracts no less by her gestures, movements, and attitudes than by her pirouettes and tours-de-force. Hence in the new ballet, entitled Scintilla, she shines with two-fold lustre. Scintilla is in love with a painter, and by her fascinations wins him from a previous attachment. It would be easy to write an essay about Mdlle. Pocchini's performance, but we must content ourselves with stating that anything more exquisitely graceful has never been seen on the stage, and that the Scintilla of Mdlle. Focchini is •worthy of comparison with the Esmeralda of Carlotta Grisi. The music of the ballet is by no means good. The success of Scintilla, and the growing fame of Mdlle. Pocchini, is a proof that the love for the ballet is not extinct.

On Thursday, Don Giovanni was given for the third time, by desire of Her Majesty.

ROYAL ITALIAN OPERA.

The first performance of Don Giovanni, on Saturday, attracted one of the largest audiences we remember. Madame Grisi being indisposed, Donna Anna was undertaken at a moment's notice, by Madame Budersdorff, a thoroughly conscientious artist, who acquitted herself extremely well in one of the most exacting parts of the lyric drama. Madame Csillag, who appeared as Elvira for the first time, and Signor Gardoni, who undertook the part of Don Ottavio, Signor Tamberlik, not having arrived, were both suffering from colds. The lady displayed unusual intelligence in her acting, and occasionally sang with great power; while the gentleman gave the music with admirable taste. Signor Mario improves vastly in Don Giovanni. and could he sing the music as it is written, would be accepted as the most accomplished living representative of the character. But Signor Alary's version being necessarily retained, some of the finest pieces in the score are entirely rained. The transposition of the serenade, "Deh vieni alia finestra," a fourth higher is, we think, a mistake. Signor Mario, no doubt, would find it inconvenient in the original key, but a tone higher, as Donzelli and Braham used to sing it, would surely be enough. Changes are the more to be lamented, inasmuch as the great tenor looks the part of Don Giovanni to the life, acts with incomparable ease, and is beginning to assume that audacity of bearing and indomitable spirit, the want of which was the principal fault of his performance last season. Signor Ronconi is the best Leporello since Lablache, and, indeed, in some respects, surpasses his predecessor. Madame Penco made her first appearance this season as Zerlina, in which she established her reputation last year. The Conomendatore of Signor Tagliafico and the Masetto of Signor Polonini were as good as ever. There were four encores—the duet " La ci darem," " Vedrai Carina," the trio of masks, and "Deh vieni alia finestra." Mdlle. Zina Richard, and M. Dcsplaces danced the minuet in the Ball.

On Tuesday, Fra Diavolo was repeated by desire of Her Majesty, who, with the Prince Consort and suite, attended the performance.

Last night, Don Giovanni was given for the second time.

Madame Albom.—This eminent cantatrice will this evening make her first appearance for two years in this country, at Her Majesty's Theatre, in her popular character of Maffio Orsini, in Lucreiia Borgia.

Death Op Mb. S. G. Faiebbother.—Several friends of the late Mr. S. G. Fairbrothcr propose to organise a bonefit at one of the principal London theatres, for tho purpose of raising a sum sufficient to make some slight permanent provision for his widow, whom this unlooked-for bereavement has rendered destitute. Mr. Fairbrother was for nearly forty years the printer of tho play-bills of the various theatrical establishments of the metropolis, and was woll known to every member of the profession as a highly appreciated and courteously considerate exponent of the claims which they wished to make through the medium of typography on the patronage of the public. Mr. Fairbrother died very suddenly on the evening of Wednesday, the 9th ult., about half-past nine, whilst sitting in his arm-chair. The immediate causo of his death was dropsy; the water touched the heart, and he eipired instantaneously without a struggle. He was in his sixty-third year. Although for so long a period the proprietor of an extensive printing establishment iu Bow-street, and giving employment to a large number of hands, his later days were clouded by sad reverses, and for some time past he had obtained his only means of subsistence from the employment given to him by Mr. Francis, the printer, of Catherine-street, who had retained him as his book-keeper. There are many to whom Mr. Fairbrother rendered essential service, and frequent acts of kindness and liberality could bo recorded of him, which wo hope still live in the

remembrance of those who experienced his forbearance and generosity. Numbers have had tho benefit of his assistance at a time when there was but little hope of his being remunerated for his work, though the profits of his business, when his claims were honourably discharged were invariably of the smallest. Losses, arising chiefly from this source, exhausted all his means, and at his death he was literally without a penny. We earnestly appeal, therefore, to the profession, and especially to those members who have so often acknowledged his constant readiness to further their wishes, without reference to personal considerations, to come forward and assist tho poor widow to perform tho last sad solemn rites. It is a deserving case, that requires to be met with promptitude, and we are sure the appeal will not be made in vain. Subscriptions forwarded to the office of the Era, care of Mr. Frederick Ledger, will bo gratefully aoknowledgod by the members of his family whom he has left behind to lament his lost.

MOZART—CHILD AND MAN.
(Continued from page 306, Vol. 38.)
90.

The Same to the Same.

Milan, 9th December, 1770. This evening, aeftr the Angelus, we shall have the second rehearsal of the recitatives. The first went so well that the pen had only to be taken up once to change a letter, della instead of dalla. This does great credit to the copyist, and every one waB much astonished at it. I wish the instrumental rehearsals may proceed in the same manner. As far as I am able to judge, apart from paternal leanings, I find the opera a good one, and written with much spirit. The singers go on well. Now the thing depends on the orchestra, and at the end of the reckoning, on the caprice of the audience; consequently, in all this, there is much uncertainty—it is a perfect lottery.

91.

The Same to the Same.

Milan, December 13, 1770. On the 12th we had the first rehearsal with the orohestra, consisting, however, of only sixteen persons, to ascertain that all was correotly written. On the 17th, the first rehearsal with the whole orchestra will take place, which consists of fourteen first and second violins, two harpsichords, six double basses, two violoncellos, two bassoons, six altos, two hautbois, two flutes, to be replaced, if necessary, by two hautbois, four French horns, and two clarinets, consequently, sixty performers.

Before the first rehearsal with tho small orchestra, there were not wanting folks whose satirical tongues cried down beforehand Wolfgang's music as something which must necessarily be puerile and wretched, and who prophesied a defeat, maintaining that it was impossible a child of fourteen, and especially a German, could write an Italian opera: admitting him to be undoubtedly a great virtuoso, they did not think he could have that intelligence and knowledge of the chiaro ed oscuro necessary for theatrical success. All these people, since the first rehearsal on a small scale, have become dumb. They have ceased to utter a word. The copyist is enchanted, and this is a great guarantee in Italy, because if the music succeeds, the copyist often gains more by Bending away and selling the pieces than the maestro by his composition. Tho singers, male and female, are highly satisfied; the prima donna and prima uomo arc delighted with their duo. Now all depends on the caprice of the public. Saving a little vain glory, it is a matter of no great concern to us. We have already undertaken many things in this queer world of ours, and Heaven has already assisted us. We are now at the last stage of an affair of which circumstances conspire, perhaps, to aggravate the importance. God be our protector!

On St. Stephen's day, a good hour after the Ave Maria, you may picture to yourself Maestro Don Amadeo, seated at the harpsichord in the orchestra, his father in a box above him, and you will please in your heart to wish us a fortunate performance, adding thereunto sundry Paternosters.

To be continued.

ADVERTISEMENTS.

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ST. MARYLEBONE, May 5th, 18G0.—ORGANIST.— Notice is hereby gtveu, that tho Vestry of tho parish of St Marylcbono, an prepared to receive applications from persons desirous of becoming candidates for the appointment of Organist to Christ Church. Stafford street, in this parish. Applications with testimonials, to be forwarded under cover to tho Vestry Clerk, previous to 11 o'clock on Saturday the 26th day rf May instant, after which time no application can be received. Notice will bo given to candidates of the day on which their attendance' will be required. Further information and amouut of salary may be obtaiuod on application to tho Vestry Clerk.

By Ordor,

W. E. GREENWELL, Court House, St. Marylebouo. Vestry Clerk.

TO CLERGYMEN, ORGANISTS, AND OTHERS.— For Sale, a fine-toned Organ, suitablo for a Church or private uso, with swell and two full sets of keys. Contains fourteen "tops, with the usual couplers and composition pedals, octavo of independent Bourdon pedal pipes and pedals; scale CO to Q in alto; in a very handsomo gothlo caso, with gilt pipes, price £200. Apply to Peter Macphail, Esq., 22, Pateruoator-row, London, E C.

ANTONIO MINASI'S Grand Quartet for Four Flutes, Dedicated to the Birmingham Flute Trio and Quartet Society, price 12s. "This work has been pronouueed by the most eminent Judges to be a first-class composition in every respect, and worthy to bo placed in competition with tho hitherto uurivalled Quartet by Kuhlan."

London: Rudall, Rose, Carte, and Co., 30, Chariug-cross, B.W.

STNGING ,BOYS WANTED by a City Organist.— Talent wilt meet with encouragement. Address W. M., care of Messrs. Hammonds, 27, Lombard-street, S.C.

BANDMASTER WANTED.—The First Corps of the Kent Riflo Volunteers require a Master for a Drum and Fife Baud. Any persons competout to nil the abovo poet are requested to send in their applications with the terms, references, &c, to the Hon. Secretary of the Bund Committcu of tho abovo corps, Maidstone, Kent, by Friday tho 25th instant.

Tho remuneration being moderate, tho post will be especially Suitcj for a retired Bandmaster or Sergeant.

FOR THE ORGAN.—SANTA MARIA and MARCIA RELIOIOSO.—Tho celebrated Coro and Marda in Mcverbeer's Opera DINORAH, arranged from tho full score for tho organ, with Pedal Obbllgato by J. T. Stone, price 3s. Boosey and Sons, Holies-street

^ASE'S PATENT CONCERTINAS, as used by

[>erior tone, 'onoortinas. . and Sons, Holies-street.

EVANS'S ENGLISH HARMONIUMS.—Full partlculars of these unrivalled instruments to be had of the manufacturers, Boosey and 8ons, 24 and 28, UoUcs-strcet, London. Manufactories at Wells-street aud Davies-streot.

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NEW RIFLE SONG, " The British Volunteers." Words by tho Rev. Foildlng Ould, M.A., Tattcnhnll, Cheshire. Air—" Tho British Grenadier." Dedicated to tho Volunteers of England. 2s. per post, postago free. London: D'Almaine, and Co., New Bond-street. Chester: Hugh Roberts, Eastgate-street-row.

NEW SONGS BY J. W. DAVISON, "Rough wind thatmoanestloud," (sung by Mr. Santley at tho Monday Popular Concerts): 11 Swifter for than Summer's flight," (sung by Miss Palmer at the Monday Populal Concerts); *' False friend, wilt thou smile or weep" Beatrice's song in the Cenci (sung by Madame Bointon-Dolby, at tbe Monday Popular Concerts, St. James's Hall); are published by Cramer, Beale and Co , 201, Regent-street. The above Songs form Nos. 1, 2, and S, of Vocal Illustrations of Shelley. "Mr. Santley was encored In one of the thoroughly picturesque and poetical settings of Shelley, by Mr. J. W. Davison, mentioned a week or two since. His ong, 'Rough wind that moancst loud,' is a thoroughly good Bong."—ALhrnaum,

Messrs. DUNCAN DAVISON & CO.'S PUBLICATIONS.

NEW VOCAL MUSIC.

"A RE THEY MEANT BUT TO DECEIVE ME,"

XX (On Kocka) Mazurka polonaise, sung with distinguished success by Herr

Rcichant, is published by Duncan Davison and Co., 244, Regent-street, W.

In the Press—"Good Night,'* (Wlcgeulied, cradle-song) composed and sung by Herr RoUhart, will be published in a few days, price its. dd.

"rpHE SULIOTE WAR SONG," by Brinley Richards,

-L sung with distinguished success by Mr. Santley, is published, price St.,

by Duncan Davison and Co., 211, Rogeut-strcot. W, where tho folic compositions of Mr. Brinley Richards may be obtained, "The blind man an summer," sung by Miss Palmer, price 2s. fid.; "Tho harp of Wales," sung by Mr. Sims Rcovcs, price 2s. od.; and "Ethel," romance for tho pianoforte, price 2s

'"T«HE DEW-DROP AND THE ROSE," by G. A.

_L Osborne, is published, prico 2s. 6d., by Duncan Davison and Co., 2(4, Regent-street, W.. where "Paulino/' Nocturne, for tho pianoforte, by Q. A. Osborne, may be obtained, price 3s.

SYMPATHY,0 by E. Aguilar, poetry by Ellis Bell, is just published, price 2s., by Duncan Davison and C 244, Regentstreet, W., whero *■ Sunset Glow," Reverie, for the pianoforte, by E. Aguilar, may be obtained, price 3s.

"T WOULD I WERE A BUTTERFLY," by A.

JL Schlocsser, is just publlshod, prico 2s. Cd., by Duncan Davison and Co. 244, Regent-street, W.

""CiLOWERS! LOVELY FLOWERS," by Charles

X McKorkell, is just published, price 2s. 6d., by Duncan Davison and Co., 244, Regent-street, W., where may be obtaiuod "Souvenirdo Gluck" (Armide), 3s., and "La Joyeuse," Souvenir des Champs Klysces, 3s., composed for tho pianoforte, by C. McKorkell.

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THREE FOUR-PART SONGS, by G. A. Macfarren, for two tenors and two basses. No. 1, "Tho fairies* even song," prico 2s.; No. 2, "The world's festivals," prico 3s.; No. 8, "The airow and tho song," price 2s. The above have been sung with great success by Mr. Hcury Leslie's Choir, Mr. Benedict's Vocal Association, and the Polyhymnian Choir. London: Published by Duncan Davison and Co., 244, Regent-street, W., where may be obtained the following vocal compositions of Mr. O. A. Macfarren, "Piquita, pries 2s. 0d., and "The thoughts of youth," poetry by Longfellow, prico is.

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