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it ncedeth 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 tho 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 Epistcnion, "thou mightest give to Aquarius a pati 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 taete bettor than the round j
Your broccoli you'll take from driest fields,
Insipid stuff the water'd garden yields.
When unexpected guests come late to dine
Duck your live cliiokens in Falernian wine
Tomper'd with water; be they ne'er so tough,
You thus will make tliein delicate enough.
The choicest musnrooms are in meadows grown,
Those found elsewhere you'd better leave 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 tho jingle of his own rhyme, that he went on with another fragment of his translation, just as if Panurge had been an hundred miles off.

"The TJmbrion boar, on hardy acorns rear'd,
By men of taste will ever be preferred.

Insipid is the reed-fed Laurontine,

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

"Hush! hush 1" cried Panurge, whiter than before Then dropping on his knoes, he cried: "Desist, desist! noble master mine j 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 apor lances carnem 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 Athenaium 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 tho last number of the Athenaeum. 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-hcads 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, and very sublime doctrine, too," said Panurge. "In the eyes of the poet, the carte must be a carte 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 NiglUs t" 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 sec, it's not eating, but discourse about eating that constituteth the transgression."

"I wonder who it cotild be that originated such sour wisdom 1" said Pantagruel.

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

"Dost thou think the critic of tho Atkenceum will ever see my translation of the "Unde, et quo Catius V 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 ctherial cheer;
Hailing Christmas, let us clatter
Empty dish on empty platter;
Pass tho 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. CnoBDS. He who eats nought may laugh tho world to scorn,

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

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

And sought the less substantial treat.
Besolv'd that nought his soul should clog,
A dog refln'd was jEsop's dog.
CnoKTJS. Hail to that sage canine, I say,

Worthier of song than the poor dog Tray.
Solo F*male. 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,
Tlio cast-wind and the west wind
Aro 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 virtuosonov/m 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 lauds 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 a3 to be 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 sec 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; Hcrr Block, Signor Cipollani, M. Durillon d'Engelure, and Mynheer Kcebul, will speedily instruct you of the incomparable Austrian's first fiasco—that is, presuming ho makes one.

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

11, Alpha-road, N.W., May \5th, 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. Macfarren.

St. James's Hall,—The annual performance of the Messiah, for the benefit of the Royal Society of Musicians, 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.

Riyolcilo, on Saturday, introduced Mdlle. Brunetti and Si<rnor Sebastiano Ronconi, as Gilda and the jester, on their firs1 appearance in this country. The lady is young and a novicei having made her debut last year at the Grand-Opera of Paris' She 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 remarkable 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 ha3 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 Fleur-des-Champs, and the lady was encored in one of her "pew."

II Barbiere on Tuesday would have 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 naiveti. 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 liosiua 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 sing it so brilliantly, none with more delicacy and finish. Her descending chromatic scale, near the end, was one of the most perfect things of the kind we have heard.

Signor Vialetti, with less exaggeration, wo»ld 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 step in 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 lours-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. Pocchini 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. .

EOTAL ITALIAN OPERA.

The first performance of Bon 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 conld he sing the music as it is written, would bo 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 fonehigher, 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 Commendatore 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. Desplaces 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, Bon Giovanni was given for the second time.

Madame Alboni.—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 Lucrezia Borgia.

Death Op Me. S. G. FAiEBBOTnEB.—Sovernl friends of the late Mr. S. &. Fairbrother propose to organise a benefit 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 the play-bills of the various theatrical establishments of the metropolis, and was woll known to eTery member of tho profession as a highly appreciated and courteously considerate exponent of the claims which they wished to make through the medium of typography on tho patronage of tho 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 cause of his death was dropsy; the water touched the heart, and he etpired instantaneously without a struggle He was in his sixty-third year. Although for so long a period tho proprietor of an extensive printing establishment iu Bow-street, and giving employment to a large number of hands, his later days were clouded by cad 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 io whom Mr. Fairbrother rendered essential service, and frequent acts of kindness and liberality could bo recorded of him, which wo hope still livo 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 tho profits of his business, w/ten his claims were honourably discharged were invariably of the smallest. Lossos, 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 eo often acknowledged his constaut 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 tho office of tho Era, care of Mr. Frederick Ledger, will bo gratefully acknowledged by the members of his family whom ho has left behind to lament his loss.

MOZART—CHILD AND MAN.

(Continued from page 306, Vol. 88.)
90.

The Same to the Same.

Milan, 9th December, 1770. This evening, aeftr the Angelus, we shall have tho second rehearsal of the recitatives. Tho first went so well that the pen had only to be taken up onco to change a letter, delta instead ofdalla. This does great credit to the copyist, and every one was 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 tho 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 io the Same.

Milan, December 13, 1770. Ou the 12th we had the first rehearsal with the orchestra, consisting, however, of only sixteen persons, to ascertain that all was correctly 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, sit 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 the small orchestra, there were not wanting folks whose satirical tongues cried down beforehand Wolfgang's music as something which must necessarily bo puerile and wretched, and who prophesied a defeat, maintaining that it was impossible a ohild 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 cscuro necessary for theatrical success. All these people, since tho first rehearsal on a small scale, have become dumb. They have oeascd 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 sending away and selling the pieces than the maestro by his composition. The singers, male and female, are highly satisfied; the prima donna and prima uomo are 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 he 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.

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The Entire Stock of Engravod Music Plates (63,000), Copyrights, &c. I MESSRS. PUTTICK & SIMPSON, Auctioneers of

Music and Literary Property, beg to announce that they will submit for sale, by Auction, at their House, 47, Leicester-square (formerly the Westeru Litorary Institution), in July,

THE ENTIRE, VERY EXTENSIVE, AND HIGHLY VALUABLE STOCK

MESSRS. DUNCAN DAVISON & CO.'S

PUBLICATIONS.

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NEW VOCAL MUSIC. “MERRY LITTLE MAUD,” and “ Under the Linden

11 TREE," composed expressly for Bír. Elliot Galer by W. Meyer Lutz, are published, price 2s. Bd. each, by Duncan Davison and Co., 244, Regent-stroot, w. “ ARE THEY MEANT BUT TO DECEIVE ME"

A (On Kocka) Mazurka polonaise, sung with distinguished success by Herr Reichardt, is published by Duncan Davison and Co., 244, Regent-street, W.

In the l’ress-"Good Night," (Wiegenlied, cradlo-song) composed and sung by Herr Reichart, will be published in a few days, price 28. 6d.

ST. MARYLEBONE, May 5th, 1860.-ORGANIST.

Notico is hereby given, that tho Vestry of the parish of St. Marylebone, aro 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 the Vestry Clork, previous to 11 o'clock on Saturday the 26th day of May instant, after which timo no application can be received. Notice will be given to candidates of the day ou which their attendance will be required. Further information and amount of salary may be obtainod on application to the Vestry Clerk.

By Ordor,

W. E, GREENWELL, Court House, St. Marylebovo.

Vestry Clerk.

“THE SULIOTE WAR SONG,” by Brinley Richards,

gung with distinguished success by Mr. Bantley, is published, price 33., by Duncan Davison and Co., 244, Regent-street, W., where the fullowing compositions of Mr. Brinley Richards may be obtained, The blind man and summer," sung by Miss Palmer, price 2s.6d.: "The harp of Wales," sung by Mr. Sims Reeves, price 2s. 6d.; and “ Ethel," romance for the pianoforte, price 28

mo CLERGYMEN, ORGANISTS, AND OTHERS.

1 For Sale, a fine-toned Organ, suitablo for a Church or private use, with swell and two full sets of keys. Contains fourteen stops, with tho usual couplers and composition pedals, octave of indepeudent Bourdon pedal pipes and pedals ; scalo CC to G in alto: in a very handsome gothic caso, with gilt pipes, prico £200. Apply to Peter Macphail, Esq., 22, Paternostor-row, London, E C.

"THE DEW-DROP AND THE ROSE,” by G. A.

1 Osborne, is published, price 2s. 6d., by Duncan Darison and Co., 214, Regent-street, W., where “Pauline," Nocturne, for the pianoforte, by G. A. Osborne, may be obtained, price 38.

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LEONORA," by Elizabeth Stirling, is published,

price 25., by Duncan Davison and Co., 244, Regent-street, W. PRETTY ROSEBUD," by Julius Seligmann, (composed

1 expressly for Herr Reichardt), is published with German and English words, price 23., by Duncan Davison and Co., 244, Regent-street, W.

NEW SONGS BY J. W. DAVISON, “Rough wind

that moanest loud." (sung by Mr. Santley at the Monday Popular Concerts); "Swister far 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 Sainton-Dolby, at the 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 3, of Vocal Illustrations of Shelley.

“Mr. Santley was encored in one of the thorougbly picturesque and poetical settings of Shelley, by Mr. J. W. Davison, mentioned a week or two since. His ong, Rough wind that moanest loud,' is a thoroughly good song."-Atheneum,

THREE FOUR-PART SONGS, by G. A. Macfarren, for

1 two tenors and two basses. No. 1, "The fairies' even song," price 25. ; No. 2, "The world's festivals," price 38.; No. 3, “The arrow and the song." price 2s. The above have been sung with great success by Mr. Henry Leslie's Choir, Mr. Benedict's Vocal Association, and the Polybymnian Choir. London: Published by Duncan Davison and Co., 244, Regent-street, W., where may be obtained the following vocal compositions of Mr. G. A. Macfarren, "Paquita, prico 28. 6d., and “The thoughts of youth," poetry by Longfellow, price 2s.

NEW SONGS

PUBLISHED BY

MESSRS. DUNCAN DAVISON & CO.

"GOOD NIGHT."

(Wicgenlied—Cradle Song.)
Composed by A. RstciiARDT.
Prico 2s. 6di

The day, pretty darling, draws hear to its closo,
Come cease fe.-m your play—on your pillow repose;
You peep from the cradle still laughing and bright.
Kind angel.* for over preserve you,—Good night!

With freedom from sorrow, dear child, you are blest, To you a pure heav'n is your fond mother's breast; Wild passion some day will your happiness blight, Kind angels preserve you, my darliug.—Good night!

Ah 1 happy U he who can slumber like you, lie ever, dear child, to your innocence truo; The righteous are watched by the spirits of light. Who guard thorn white sleeping, my darling,—Good night 1

"THE MEADOW GATE.1'

Sung by Mr. Wilbye Cooper.
Composed by George D. Allkk.
Price 2s. 6d.

Meadow gate, oh meadow gate,

'Neath tbe hawthorn trco,
Fondest memories of my lifo

Ever cling round thee.
Where the gentle voice of Spring

Wakes the earliest flowers,
Where the linnets gaily sing,

Through long sunny hours.

Thoughts of bright hours long a

When I was a child.
Playing mid' the meadow flowers

Round me fair that smiled;
Memories sweet of happy eves,

When I used to wait,
Till one catno to meet mo there,

By tbe meadow gate.

"UNDER THE LINDEN TREE."

Sung by Mr. Elliot Gal&r,
Composed by W. Meter Lutz.
Price 2s. 6d.

As under the Linden tree I lay,

Dreaming the evening hour-* away,

Weaving many a chaplet bright

Of Memory's flower-wreaths, bloom and blight.

My fincy fled, as it ever flies,

To my heart's dear quoen with tho violet oyes,

And I thought, does my lady think of mo.

As I lie under tho Linden tree.

Ah J is she thinking of days gone by,
^SY smile on her lip, a tear in her oj e.
Or is she wearying heart and brain,
'With days to come when wo meet again;
Or, under the shadow of Love's eclipse,
Lists she to loro from another's Hpp,
Bmiling on him and delrauding me.
As I lie under the Linden tree.

"MERRY LITTLE MAUD."

Bung by Mr. Elliot Galfk,
Composed by W. Meter Lutz.
Price 2s. 6d.

Here's a song to Maud, to merry little Maud,
Tho marvel of. maidens at home or abroad,
No flower of the summer, no star of the night,
Is so fragrantly frosh, so bewitchlngly bright.

On the snow of her forehead all purity lie*,
Her clear soul shines out from her eloquent oyes,
Tho boldest of rufilers is silenced and awed
As he meets the pure gaze of my dear llttlo Maud.

She's a heart of her own, has pretty little Maud,
A fond heart, and free from all falsehood or fraud;
And prouder should he be than king on his throne.
Who can look on that deal* little heart as his own.

I know not for which of my faults it may be
That she deigns to look down with a smile upon me,
But she loves mo, and nothing on earth shall defraud
My soul of its sunlight, merry little Maud.

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"COME, FAIRIES, COME, THE STARS SHINE BRIGHT."

Trio for Soprano, Mezzo-Soprano, and Contralto.
Composed by Adolpho Ferrari.
Price 2s. Gd.

Come, fairies, come, the stars are bright,

The night wind wanders free,
Tbe Bummer moon with meagre light

Has silvered all the sea.

The dews fall chill on glade and hill.
And drench tho faint sweet flowers;

Como sylph and fay, that fear the day,
The spell-bound world is ours. *

Come mocking dreams, less wild and vain,

Than many a mortal plan,
Come chase your phantoms through the brain

Of every child of man,

While death-like sleep still dark and deep,
Drowns all their languid powers,

Come sylph and sprite that haunt tho night,
Each yielded soul is ours.

"FLOWERS! LOVELY FLOWERS."

(Dedicated to Lady Isham.)
Composed by Chables Mckobkell.
Price 2a. Qd.

Flowers arc gems from heaven sent,

Man's rude heart to cheer, delight,

The stars that dock night's nrmameut

Less beautiful and bright 1

Mark their varied perfumes blending,

Huos so brilliant and fair;

Ah ! let our songs on high ascending

Thank our Maker's bounteous care.

Thus to erring mortals sending

Gifts so rich and rare.

Pinks! faint with musky odours,
Mtgnionette! breathing fragrauce sweet.
The woodbine twining round in clusters
Where the goigeous lilies meet;
Roses! Queen of all the garden,
Violets 1 Spring's first blooming child;
And thou palo Snowtlrop, clad in beauty,
Purely sweot and unden led.
Bring with thee in loving state
Tbe Cowslip with its ruby eyes,
The primrose too, its lowly mate;
And cuckoo flowers that shepherds prize,
Wildlings born in forest dingle
Where the wood anemone blows.
With your cultured sisters mingle,
Every flower, in short, that grows;
Forming thus a garland fair
To deck a maiden's raven hair.
Flowers, lovely, lovely flowers,
How ye charm the captive hours,
A crowning joy to sorrow lending
Still beginning, never ondiug,
Flowers, lovely, lovoly flowers.

"SUNSHINE."

(Dedicated to Mrs. William oby.)
Composed by Adelaida.
Price 2s. 6d.

I lovo the sunshine everywhere,

In wood, and field, and glen,
I love it in the busy haunts

Of town-imprisoned men.
I love it where the children Ho

Deep in the clovery grass,
To watch among the twining roots

The gold-green beetles ]>ass.

I love it when it streameth iu

The humble cottage door, And casts the chequered casement's shado

Upon the red brick floor.
Upon the earth, upon the sea,

And through the crystal air,
Ou piled up cloud the gracious sun

Is glorious everywhere.

1 love it on the mountain top,

Where lieBthe thawless snow. And half a kingdom bathed in light

Lies stretching out bolow. OK yes, I love the sunshine !—

Liko kindness, or like mirth Upon the human countenance,

Is sunshine on tho earth.

LONDON; DUNCAN DAVISON & CO.,

(DEPOT GENERAL DE LA MAISON BRANDU3 DE PARIS),

244, REGENT STREET, CORNER OF LITTLE ARGYLL STREET.

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