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Concerts.

SACRED HARMONIC SOCIETY. The series of Subscription Concerts was continued on Friday the 18th, with Haydn's Creation. The work, by far the lightest in the repertoire of the Society, was, generally speaking, well performed. The band executed the Overture ("Chaos") in admirable style. The accompaniments were likewise worthy of commendation. The chorus showed their familiarity with the work, and were steady and correct as usual. We may except the vocalised passages in the last piece, "Praise the Lord, ye voices all," the only phrases of the kind in the work which were sung incorrectly. The soprano solo was undertaken, for the first time, by Miss Parepa, who did herself infinite credit. Indeed, the part suits her better than any sacred rôle she has attempted. "On mighty pens" was particularly effective, the ascending passages being delivered with accuracy and brilliancy of tone. Mr. Sims Reeves was never more favourably heard than in "In native worth." The purity of his singing is exceeded by none of his contemporaries; while he renders this (and many other airs) with a manliness which is all his own. Signor Belletti had not quite recovered from his recent indisposition. He took infinite pains, however, with his music, and, in "Rolling in foaming billows," created a marked sensation. The room was crowded in every part.

PHILHARMONIC CONCERTS.-The programme of the fourth concert on Monday last was unusually rich in material, and attracted a very large audience to the Hanover Square Rooms :PART I.

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four-part song, by Mr. Henry Leslie, were sung with much effect. Both compositions are agreeable and well written.

MADAME PUZZI's CONCERT.-A large and fashionable assembly attended the annual concert of Madame Puzzi, which came off at the Hanover Square Rooms on Monday morning. The programme was more than usually varied. The artists included Mesdames Borghi-Mamo, Lemmens-Sherrington, Parepa, Rudersdorff, Everardi, Lemaire, and Rieder; Signors Mariano Neri, Solieri, Ciabatta, Dragone, M. Désprèt, and Mr. Patey, vocalists; and M. Leopold de Meyer (piano) and Signor Pezze (violoncello), instrumentalists. The special feature of the concert (to quote the Morning Post) "was the first appearance this season of the great lion-pianist, Leopold de Meyer, who executed a new fantasia on original themes, of his own composition, with extraordinary effect. We never heard him play with more brilliancy, power, delicacy, and finish." Being unanimously encored, he returned to the instrument and repeated the last half of the fantasia. The Neapolitan air and variations, introduced by Madame Borghi-Mamo in the lesson scene of the Barbiere, and sung by the same lady on the present occasion, was the most brilliant vocal display of the concert. The fine duo, "No, Matilda," from Rossini's Matilda di Shabran, was admirably given by Mdlle. Parepa and Madame Borghi-Mamo. Madame Everardi, wife of the eminent barytone, in the cavatina, "D'amor sull' ali," from the Trovatore, displayed a voice of nice quality, and a good style and method. Two compositions by Signor Giuglini, a duet sung by Mesdames Lemmens-Sherrington and Borghi-Mamo, and a chorus by the entire company, were introduced. The rest of the performance calls for no particular remark.

THE LONDON GLEE AND MADRIGAL UNION, under the direction of Mr. Edward Land, will give their 100th performance of glees, madrigals, and old ballads on Friday next, at the Royal Gallery of Illustration,-a very gratifying proof that the public are appreciating more and more this delightful style of vocal music. MR. HENRY LESLIE'S CHOIR. - The Concert on Wednesday last, the fifth of the season, was quite up to the standard which Mr. Leslie seems to have set up, and above which he will not go on any account. Glees, madrigals, and part-songs sung in a style nearly approaching perfection will always command an audience; but the interpolation of indifferent fantasias on operatic airs is simply distasteful to the musical public, whose opinion neither Mr. Leslie nor anyone else can afford to despise. Last season we had sonatas, pianoforte and violin, and pianoforte and violoncello and other works of equal importance. This matter should be looked to. The motett of Hauptmann, "Source of all power and light," Wilbye's madrigal, "Sweet honey-sucking bees," Hear my prayer" (Mendelssohn), trio canone, "Placido Seffiretto (Cherubini), were the noticeable features. A vocal duet, and a

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MONDAY POPULAR CONCERTS. Out of eight pieces in a programme devoted to various masters, no less than five were heard for the first time at the concert of Monday last. This looks well, as it shows that the continued success attendant on these interesting series has not made the directors indifferent or content (as is too often the case) to fall back upon works with which the public are now, thanks to them in a great measure, tolerably familiar. Nor is it alone in the construction of their scheme that the effects of judicious management are shown: not only fresh pieces but fresh artists are heard. This season we have had Her Becker, a valuable addition to the ranks of our classical violinists; and now a (comparatively) new pianist, Her Lubeck, is introduced.

The instrumental novelties comprised two quartets,― Mozart's in D minor, and Beethoven's in F minor; both played to perfection by Messrs. Sainton, Goffrie, Doyle, and Piatti: Mendelssohn's trio in C minor (No. 2), in which the first and last named gentlemen were joined by Herr Lubeck, who also gave Beethoven's sonata in C sharp minor, best known as the Moonlight Sonata.

The remaining novelty was the "Sleep song" from Auber's Sims Reeves, who also contributed Rossini's barcarolle, “La Gita Masaniello, given with the utmost delicacy of expression by Mr. in Gondola," in such a manner as to elicit an encore, which it was impossible to resist. To Mr. Santley for his admirable rendering of Vincent Wallace's capital song, "The Bell Ringer," a like compliment was deservedly paid, and much applause was earned by the said gentleman in Mr. J. W. Davison's "Rough Wind that moanest loud." Mr. Benedict as usual accompanied the vocal music with consummate ability.

On Monday next-an Italian night-Miss Arabella Goddard, Miss Laura Baxter, Mlle. Parepa, Herr Becker, &c., will appear. The selection (except one air repeated by desire) will be entirely

new.

SWANSEA.-The Jullien Concert came off on Monday evening at the Guildhall, under the patronage of the Mayor. Considering the benevolent object in view, namely, to aid the fund on behalf of M. Jullien's widow and family, who have been left totally unprovided for, the attendance was not so large as we anticipated. Sufficient, however, we hope, has been realised to enable the promoters to transmit a substantial sum to the fund. The following artistes kindly gave their services on the occasion:-Madame Enderssohn, the last vocalist who accompanied the great maestro on his tour through England; Miss Evans, of Newport; Miss Harrison; Miss Pincott; Mr. Merrick, of the Bristol Cathedral; Mr. W. Bowen, and the members of the Swansea

Musical Union, led by Mons. F. Ternon. Dr. Wastfield, Dr. Denning, and Mr. Fricker, also kindly gave their services. The concert opened with Auber's overture, Masaniello. Madame Enderssohn sang Donizetti's aria, "L'Amor Suo," Hadyn's Canzonet, "She never told her love," "Home, sweet Home," and M. Enderssohn's "Only in jest." We were much pleased with Miss Rachel Evans' pianoforte solos. She was "Robert toi qui loudly encored. Miss Harrison sang Meyerbeer's j'aime," and Wallace's "Gentle Troubadour." Mr. Merrick, of the Bristol Cathedral, sang. Mr. Bowen and Miss Pincott assisted as amateurs. The former sang "Good Rhein Wine" with much spirit, and was encored. Miss Pincott received a similar compliment. Dr. Wastfield and Dr. Denning conducted.

Advertisements.

HER
ER MAJESTY'S THEATRE.-This evening, Satur-
day, May 26, second night of SEMIRAMIDE.-TITIENS, ALBONI, BELART,
VIALETTI, and EVERARDI. On Monday, May 28. Grand Extra Night, IL DON
GIOVANNI. On Tuesday, May 29, IL TROVATORE.TITIENS, ALBONI,
ALDIGHIERI, VIALETTI, and GIUGLINI. On Thursday, May 31, Rossini's Opera of
SEMIRAMIDE.-TITIENS, ALBONI, BELART, VIALETTI, and EVERARDI. On Saturday,
June 2, first night of ERNANI. First appearance of Mdlle. LOTTI DELLA SANTA.
Conductor Signor ARDITI. To conclude each evening with the new ballet of
SCINTILLA, in which Mdlle. PoсCHINI and M. DURAND will appear. The box-office
of the Theatre is open daily from 10 to 6.

HER MAJESTY'S THEATRE.-Second_Night of

Semiramide.-TITIENS, ALBONI, VIALETTI, EVERARDI, BELART -This Evening (Saturday, May 26) will be performed Rossini's Opera of SEMIRAMIDE. Semiramide, Mile. TITIENS (her second appearance in that_character); Arsace, Madame ALBONI; Oroe, Signor VIALETTI; Idreno, Signor BELART; and Assur, Signor EVERARDI. Conductor, Signor ARDITI. To conclude with the first tableau of the new and admired Ballet of SCINTILLA, in which Mile. POCCHINI, Mlle. MOLACCH', and M. DURAND, wil, susta n the principal characters. Pit tickets, 8s. 6d.; Gallery stalls, 5s.; Gallery, 3s. The Opera will commence at 8 o'clock.

ROYAL ITALIAN OPERA, COVENT GARDEN.—

First Appearance of Mdlle. DIDIEE.

This evening, May 26th, will be performed, for the first time this season, Rossini's Opera LA GAZZA LADRA. Principal characters by Madame Penco, Madame Tagliafico, Mdlle. Didiée, Signor Ronconi, M. Faure, Signor Tagliafico, Signor Lucchesi, Signor Polonini, Signor Rossi, Signor Gardoni.

At the conclusion of the Opera, the New Floral Hall will be illuminated. The Band of the Coldstream Guards will perform until Twelve o'clock, by permission of Colonel Newton. Each Visitor to the Boxes, Pit Stalls, or Pit, will have the priviledge of entrée, free of extra charge. Carriages can take up at the Bow Street

entrance of the Floral Hall.

EXTRA NIGHT NEXT MONDAY.

On Monday next, May 28th, will be performed for the third time this season Rossini's Opera IL BARBIERE DI SIVIGLIA.

Principal characters by Madame Miolan-Carvalho, Madame Tagliafico. Signor Ronconi, M. Zelger, Signor Tagliafico, Signor Lucchesi, Signor Rossi, Signor Mario. After which (second time) a New Ba'let Divertissement, arranged by M. Desplaces, entitled LES AMOURS DE DIANE.

The Music arranged by M. Nadaud. Supported by Mdlle. Zina, Mdlles. Esper, Maraquita, Mulot, and Laure, Mr. W. H. Payne, and M. Desplaces.

On Tuesday next, May 29th, will be repeated Rossini's Opera
LA GAZZA LADRA.

After which the New Ballet Divertissement

LES AMOURS DE DIANE.

JEW FLORAL HALL.-A GRAND MORNING May 30. To commence at Two o'clock. Supported by the following eminent Artists, Mesdames GRISI, ROSA CSILLAG, DIDIER, CORBARI, PENCO, MIOLAN-Carvalho, Signori MARIO, GRAZIANI, FAURE, NERI-BARALDI, POLONINI, Zelger, TAGLIAFICO, GARDONI, RONCONI. Also the Band and Chorus of the Royal Italian Opera. Extra Night, not included in the Subscription, on Thursday next, May 31st, will be performed (for the third time this season), Verdi's Opera, IL TROVATORE, with the following powerful cast, Madame GRISI, Mile. Rosa CSILLAG, Madame TAGLIAFICO, Signors GRAZIANI, TAGLIAFICO. LUCCHESI, Rossi, and MARIO. Conductor, Mr. Costa, Doors open at 8, commence at half-past. Pit, 7s; Amphitheatre stalls, 76. and 59.; Amphitheatre, 2s. 6d.

JULLIEN FUND.

TH HE illness of M. Jullien having, with fatal rapidity, terminated in death, it has been resolved that the donations to the JULLIEN FUND shall be applied in the manner which would have been most in consonance with the wishes of the deceased had it been permitted him to express them, viz. to the relief of his Widow and Family, who, by his loss, are left totally unprovided for. Committee for the distribution of the Jullien Fund.

Mr. John Mitchell; Mr. W. R. Sams; Mr. Thomas Chappell; Mr. W. Duncan Davison; Mr. Robert K. Bowley; and Mr. Jules Benedict.

Honorary Treasurers.

Mr. John Mitchell, 33 Old Bond Street; Mr. Thomas Chappell, 50 New Bond Street; and Mr. W. R. Sams, 1 St. James's Street.

Bankers.

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- Books to receive names are now placed at Mr. Hammond's (late Jullien's), 214 Regent Street; Messrs. Cramer's, 201 Regent Street; Messrs. Bailey Brothers, Corahill; Messrs. Parkins & Gotto's, 24 Oxford Street Mr. Pask's, Lowther Arcade ; Messrs. Keith, Prowse, & Co.'s, 48 Cheapside; Mr. Bignell's, Argyll Rooins; Deposit Bank, Leicester Square; Sunday Times Office; Messrs. Boosey & Sons, Holles Street; Mr. Austin, St. James's Hall; Duncan Davison & Co., 244 Regent Street; and at the principal Music Shops throughout the country.

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[ANDEL'S Israel in Egypt, recently performed by the Sacred Harmonic Society at Exeter Hall, attracted the most numerous audience of the season. This masterpiece, which stands at the very pinnacle of the art, and is

Messrs. Coutts & Co., Strand; Heywood, Kennards, & Co., Lombard Street; perhaps the most transcendent example of choral writing

extant, has for some years-especially since the Handel commemoration of 1857-held a place in public regard not inferior to that which the Messiah has maintained for more than a century. It is no longer considered laboured and dry; the choruses are no longer reproached for their profusion, uninterrupted succession, and extreme difficulty; the vocal solos, airs, and duets no longer accounted inexpressive, or too few. All such criticism is consigned to oblivion; and were it to arise again from the dust, and appeal to the judges and amateurs of the present hour, it would be welcomed with derisive sneers by the musical community at large.

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A contemporary has insinuated that Mendelssohn's preface to the edition of Israel in Egypt, prepared for the Handel Society, had some hand in establishing this admirable reform. This is more than probable. When such a man approaches the text with religious veneration, and even offers an apology for the organ part added by himself, -not in the hope of supplying what Handel left unwritten, but as a guide to the generality of organists, it would be indiscreet on the part of any other to meddle with the score, which, while restoring to its original purity, Mendelssohn pronounced one of the greatest and most lasting works." Happily the best conductors of our time are of a mind with Mendelssohn, and will not suffer a single bar to be interpolated, to which reserve, we firmly believe, may be traced the ever-increasing popularity of Israel in Egypt. The songs and duets introduced by Professor Taylor broke the chain of miracle choruses, interrupted the dramatic interest of the musical description, and disturbed the clear and masterly design, which made one great whole of this unequalled inspiration. Much the same result, indeed, accrued from the officious meddling of Nahum Tate with King Lear, Dryden with The Tempest, Thomson with Coriolanus, Colley Cibber with Richard the Third, Garrick with Romeo and Juliet and Hamlet 66 cum multis aliis." But the uncompromising principle of Mr. Macready cleansed the Augean stable, and restored the drama of Shakspere to its pristine vigour. What Mendelssohn did for Handel, Macready did for Shakspere. Why should not Mr. Costa stir up the half-extinguished embers of the opera, and, like his great contemporaries, earn the name of a reformer, by restoring Mozart, and giving us Don Giovanni as the immortal composer wrote it? Were he to do this, it would ensure him a niche in the Temple of the Unforgotten.

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thy nostrils," is elaborate and difficult, and for this reason is rarely given to perfection. But if a chorus, because elaborate and difficult, may be passed over with as little care as a chorus which is unelaborate and easy, of what use is the custom of rehearsals, and of what advantage an experienced "bâton?" Our conductors have it in their power, and should exert their authority, to obtain that precision for "With the blast of thy nostrils" which has hitherto been wanting; and until achieved, the result upon which Handel calculated must remain a dead letter. Granted there are three distinct subjects in this chorus treated both separately and in combination; but Handel intended them all three to be heard, which he knew was possible, or would not have planned it so. The effect is evident enough upon the pianoforte, and there is no reason why it should not be equally so in the choral-orchestra. Again, it is true that the chorus, "The people shall hear," the most prodigious in the whole series, has suffered, time out of mind, from the same indecision. Here, indeed, severe discipline is even more necessary than in the others. The confusion of minor and major chords and scales, to which we are accustomed in the execution of this chorus, is nothing short of torture to delicate ears; and yet, with perseverance, a satisfactory performance might be achieved, or (we repeat) Handel would not have written it. contemporary, already alluded to, advises Mr. Costa, on the next occasion, to call a special rehearsal for the two last of these choruses. We join in the recommendation; suggesting the addition of "He sent a thick darkness," and "He smote all the first-born of Egypt."

The

A model performance of Israel in Egypt would be as welcome as a model performance of Don Giovanni, or of Fidelio. All these are yet to be accomplished. We have heard the Messiah and Elijah to perfection, but not Israel; we have witnessed Guillaume Tell and Der Freischütz and Masaniello without once being incited to criticism, but never Fidelio, nor Don Juan.

An opinion of Israel in Egypt, as now usually performed by the Sacred Harmonic Society, may be briefly expressed. The choruses, with the exception of three, are almost invariably executed in such a manner as to reduce to a sinecure the office of the critic, who waits in vain for defects whereon to exercise the eloquence of reproach. The exceptions, however, are grave exceptions. It is true that "He sent a thick darkness is rarely sung in tune; but is that a reason why it should never be sung in tune? Did Handel write under each separate part, Please sing out of tune? Assuredly not. Inasmuch, then, as singing in tune is allowed to be possible by the most noted professors of the art, who even urge it on the student's attention, as the indispensable point to which his industry should be directed, and in default of which the emission of vocal sounds becomes no better than an unpleasant noise, it is the duty of conductors to enforce it with the whole weight of their authority. Sung throughout in tune, the sublime chorus, "He sent a thick darkness," would be both more intelligible and more impressive.

THERE are several Don Juans. Not only are there the Don Juan of Torso de Molina, the Don Juan of Molière, and the Don Juan of Mozart, but in the Don Juan legends of Spain there are half a dozen Don Juans of different forms and shades of profligacy, of whom the two most celebrated are the Don Juan de Marana and the Don Juan de Tenorio. Don Juan de Marana, after corrupting his friend's mistress and murdering his friend; after gambling away the money entrusted to him by a dying soldier on the field of battle, to be given to his orphan family; after having seduced women into breaking every vow woman could make to man; felt that it still remained to him to corrupt a spiritual bride—a nun, who had sworn to love but heaven. Is it not written in the legendary literature of Spain, how, by the mere power of his eye he fascinated an unhappy novice, as a rattlesnake fascinates a bird? How, after the service in the Seville Cathedral was at an end, he thrust a letter through the bars of the cage which held his victim; through the grille which separated the altar from the corridors of the convent, and behind which abbess and nuns knelt (and prayed when there was no Don Juan to trouble them) during mass? How the trembling girl met him in the convent garden; and how in visiting her he well nigh lost his life; and how, weak and fainting from loss of blood, he fell into a fever, and in his delirium saw his own funeral, and was told by the hundred monks who followed Again, it is true that the chorus, "With the blast of it that they were indeed praying for the soul of the great

sinner, Don Juan de Marana; upon which he became converted and " étant vieux se fit ermite?"

This is not the Don Juan for us. Better by far is the Don Juan of Molière, who pretends to be converted, and crowns his criminal career with hypocrisy, at the same time calling his valet to bear witness that he is the same Don Juan he has always been; "ne craignant ni Dieu, ni diable, ni loup garou." This is the Don Juan de Tenorio who asked the statue of the murdered commandant to sup with him; who was not alarmed when the statue, with that punctuality which is the politeness of ghosts, made his appearance in the supper-room, but who, having given his hand-brave and defiant to the last-to the marble guest, felt suddenly the fire of hell in his veins, and was dragged down by his visitor to the regions of eternal torment (in which, by the way, if he had not deserved the assassin's blow he could scarcely have been a resident). This, we need hardly say, is also the Don Juan of Mozart's immortal opera, and probably it was the fact of the original Juan's surname having been Tenorio that suggested to the manager of the Royal Italian Opera the propriety of entrusting the part to Signor Mario, rather than to some barytone.

However that may be, nothing can be clearer than that in representing the story of Don Juan (de Ferrario) it is essential that the statue of the Commandant should be invited to supper, that he should accept the invitation, and that he should ultimately take his irreverent host away to sup with him in the midst of blue fire. Talk of omitting the part of Hamlet in a representation of Hamlet? That would be as nothing compared with the omission of the statue of the Commandant from a performance of Don Juan. Mr. Buckstone, of facetious notoriety, tells a story of an American theologian and preacher who founded a religion which hopelessly and ignominiously failed because he attempted to carry it on with the assistance of an evil spirit. Well, Don Giovanni, last Thursday, at Her Majesty's Theatre, was like the religion of the poor insane American divine mentioned by Mr. Buckstone, except in this respect, that the opera did not fail- not in a musical sense at least; but the legend was utterly spoiled, the moral entirely lost, from the simple fact that the statue of the Commandant came, saw, actually shook hands with "Don Juan," and then went away with him! It is absurd to see "Don Juan" carried off by a host of imps; it is absurd to see the last scene terminated (as on Tuesday night, at Her Majesty's Theatre) by a display of fireworks; but most absurd of all is it to see "Don Juan" left quietly to himself after the ghostly commandant has had a few minutes' conversation with him.

If the statue of the Commandant was not sure to come for us at last, who that had the power would not be a Don Juan? The author who translated the drama of Punch understood this. In the original version of that wonderful composition, Punch, after killing every one else, actually kills Satan. What does he do then? He simply and naturally exclaims: "The devil is dead; we can now all do as we like." To teach our modern Don Juans the impossibility of any such course of conduct, we entreat Mr. E. T. Smith to restore the descent of Don Juan into the abyss.

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Blanc will be regarded as a centre of melancholy thoughts, and we shall not care often to reflect on the Feast of Lanterns. London has sustained an irreparable loss. A species of entertainment has perished with Albert Smith that no other person can be expected to revive.

Albert Smith was distinctly the inventor of the medley lecture which for several years has been connected with his name. All the other "entertainments" are more or less modifications of the old "Mathews at Home" adapted to modern usages,-all more or less monodramas in which the theatrical element is conspicuous; unless, indeed, as in the case of Mr. and Mrs. T. G. Reed, where two persons appear, the performance becomes absolutely dramatic. The characters embodied in these entertainments are of an abstract kind, assumed to be types of real life, but in point of fact much more like stage conventions. Now with Albert Smith the narrative element decidedly predominated. He was the traveller describing his own journey, and as he always regarded the various objects from his own point of view, he had much of that freshness of which we find a classical type in the Muses of Herodotus. That depreciation of " high art" which has done so much mischief among the smatterers of the day, who think they look fine when they despise what their fathers have admired, was less offensive in him than in any of his followers. It was an honest expression of dislike for that which he really did not admire, not an affected humour put on for the sake of exciting surprise. The personages whom he so inimitably represented, far from being abstractions, exhibited just as much of their idiosyncracies as could readily be displayedby any loquacious individual in a railway carriage or a packet, and were never intended to stand as entire humanities. That immortal engineer with his grievances, for instance, was shown on his colloquial side, under circumstances that would bring the colloquial side forward, and had no affinity to those traditional aldermen who bawled for turtle in the midst of their tea and toast.

The charm of Albert Smith's delivery can never be described to those who have not actually heard him. It was natural, fluent, glib, and so utterly unaffected, that he might be charged with carelessness rather than with a desire to create a sensation. His old experiences of travel seemed to come upon him again, and his hearers were delighted when they found how those experiences accorded with their own. The plenitude of physical comfort in which they were placed disposed them to be in a good humour, and in this amiable disposition they were all maintained by the unceasing affability of the lecturer.

Laying no claim to the character of a musical artist, and endowed with a weak organ, Albert Smith had nevertheless as much vocal proficiency as was required for his purpose, and no one better understood the art of making pleasant phrases effective, by associating them with a telling tune. The faculty of rapid articulation, common among Italians, which was marvellously displayed in his so-called patter songs," he shared with few compatriots. Indeed we do not know where we should find equal volubility in any living Englishman besides Charles Mathews.

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There is another merit of Albert Smith which should never be forgotten, and that is his wonderful mastery over English versification. He could neatly and humorously treat of any subject in any measure, and his songs, smart and pointed throughout, never seemed to be disfigured by a forced or feeble line. His talent, in this respect, was perpetually exercised by his Galignani's Messenger, which was so varied as to contain facetious allusions to the prevailing

topics of the day. Albert Smith's entertainment, in fact, was the complete expression of Albert Smith himself,-the vehicle for all his thoughts, sentiments, and opinions; and on this account he might be likened to those old-fashioned divines, whose discourses were not only the sermons, but likewise the newspapers and the political instructors of the congregation.

PRINCESS'S THEATRE.-We understand that M. Fechter, an Englishman by birth and education, and in his own particular department the very best actor on the French stage, is engaged at the Princess's Theatre, and will make his first appearance in October next, most probably in an English version of "Ruy Blas." ANTON RUBINSTEIN.-It is rumoured in London that this celebrated pianist and composer died suddenly a few days since, at Leipsic. We have no direct information which can enable us to vouch for the truth of the report, but trust that it may prove to have been without foundation.

SIG. CORDIGIANI.-The death of this graceful composer has added another to the list of notable persons whose loss the art has to regret.

HERR RUDOLPH SCHACHNER, whose death is announced in the Guide Musical (of Brussels), is happily for his friends and admirers alive and well.

NEW ARRIVALS.-Among the recent arrivals from the Continent are Master Dencke, a pianist of twelve years old, of whom Joseph Joachim writes to a friend in the following terms :-" He is a thoughtful modest youth, and for his age a remarkable executant on the piano. Recommend him to those among our friends who are sure to take an interest in him when they have once heard him." Another pianist-Herr Joseph Wieniawski (brother of the violinist) is also on a visit to London.

THE ORGANISTSHIP AT THE LEEDS PROVINCIAL TOWN HALL. From our Correspondent.—The time allotted for applications to be sent in to the Leeds Town Council for the situation of Organist at the Town Hall having expired, the Committee met on Wednesday to take further proceedings. There were twenty-two applications, and these having been examined with their accompanying testimonials, the Committee reduced the candidates to seven, viz.: Mr. Hilton, Manchester; Mr. William Spark, Leeds; Mr. James Broughton, Leeds; Mr. Walter Parratt, Huddersfield; Mr. George Hepworth, Mecklenburg-Schwerin; Mr. Oldham, London; and Mr. James Taylor, Gloucester. The Committee will probably again meet on Wednesday next, when the three judges will be selected, before whom the abilities of the competing candidates will be tested.

Letters to the Editor.

MATHEMATICAL THEORY OF THE CHORD OF THE
DOMINANT 7th.;

SIR,-In my last (Musical World, April 21st) it will be seen that the sounds of the primary major chords of any three adjacent systems of sounds (see Musical World, January 28th) form a major scale or key, the root or tonic of which is the basis of the central system. Now it is necessary to be observed, that the sounds of these primary chords in any two adjacent systems only could not of themselves decide the key, for in this case, as there would be no central basis, so the root or tonic would be indeterminate. Thus, for instance, in the two adjacent systems having the primary bases G and C, the sounds of the primary chords belong equally to the keys of which either basis is the tonic, that is, to either mode formed by the three systems D G C or G C F, in other words, the sounds G B D and C E G belong equally to the scale of G and the scale of C, therefore from these sounds alone, the scale, or key, could not be determined. On the contrary, if we take the sounds G BD and FA C, which are those of the primary chords of the two extreme systems, G and F of the mode C, then the tonic C, which is the basis of the intermediate, or central, system is at once pointed out; these sounds also, taken collectively, belonging to the key of C and not to

any other, that key is immediately indicated; moreover, as shown in my last, the sound G, the basis of one of these two systems, as dominant leads downwards a 5th, or upwards a 4th, to C, the root of the mode, or tonic of the key, so also the F, the basis of the other system, which, with regard to its position and influence in the mode, would be correctly termed an inverted dominant, or sub-dominant, and on this account act in the opposite direction, leads upwards a 5th or downwards a 4th, to the unit sound C, again to the tonic of the key; when, therefore, we introduce the primary basis F in combination with the major chord of G, we have the sounds of the two extreme systems, both of which in combinatlon lead to the key of C. The sound F in this chord thus becomes the modulus of the system of which it is the primary basis, and the primary chord, the chord of the modulus, both leading to the sounds and harmonies of that system, as contained in the derivative chords, which thus become the chords of the resolution, all the sounds of which belong to the keys of which C is the tonic. It is evident that the discord must resolve upon these harmonies only, for the dominant G leads to C, the root of the mode, which is also the unit sound of the system F, and, with the exception of the chord of the modulus (which cannot also become the chord of its resolution-it cannot fall upon itself), all the harmonies into which C enters as the unit sound, are contained in the derivative chords of the system F. From this it is clear that the primary basis F, which is also the fourth sound in the scale of C, is the true 7th of the major chord of G, and this is correctly called the chord of the dominant 7th. Also, as the chords of the 9th, 11th, and 13th are merely variations of this chord (as pointed out in my letter, Musical World, January 28th), it is therefore the fundamental principle of all modulations, as it contains the primary sounds of the two extreme systems of the mode, which of any two, are those only which can determine the key.

By some theorists this 7th has been called a fundamental 7th, because principal sound as generator, or, which is the same thing, from the diviit was supposed to be the sound derived directly as an harmonic from a sion of a musical string, or monochord, into seven equal parts; but this is incorrect; for suppose a musical string whose length is unity, giving the sound G, then of this length would give the fundamental 7th, and the ratio of its vibrations would be 7, but the ratio of the dominant 7th is 16, and their comparative ratios 63-64, therefore the fundamental 7th is flatter in pitch than the dominant 7th in this proportion, but the dominant 7th F is the true 4th of the scale of C, consequently the fundamental 7th, which forms no part of the same scale, pression of any of those sounds; moreover, it being an harmonic of G, cannot be a sound leading to that scale, that is, it cannot give an imit is not a sound leading from but one leading to that basis. Also, if unity represent the length of string giving the sound G, no harmonic whatever of this sound, that is, no aliquot division of this string can give F the true dominant 7th in any of its octaves; for as the ratio of the vibrations of any harmonic must always have some integral power of 2 for its second term, it is evident that no harmonic can exactly correspond with the dominant 7th whose ratio being its second term must be always 9 times some power of 2; and as 9, which is an odd number, can form no integral power of an even number, such as 2, therefore no aliquot division of the string sounding G can give F the dominant 7th. It is true from the generator G we can find an harmonic as near as we please to this F, but not the exact sound; in this sense the dominant 7th may be considered as the limit of an infinite series of converging harmonic ratios of which the fundamental 7th may be taken as the first term. Again, although the F is no harmonic of G, we cannot say the same of these sounds reciprocally, for if we further examine the ratio of F to G, which is 1, we find that 16, which is the 4th power of 2, is the first term of the ratio, not the second, so that the ratio appears in the form of an inverted, or negative harmonic; therefore we must interpret it as we would a negative quantity in algebra, which has exactly the opposite meaning of a positive quantity. In this case it shows that F is not an harmonic of G, but that G is an harmonic of F, and this is evidently true, for if we reduce the ratio to its lowest octave, it is, and the length of string necessary to produce this sound F is f, or 9, that is, 9 times the length of the one giving the sound G, consequently, G being produced from the division of the string sounding F, into 9 equal parts, is an harmonic of that sound. As regards the manner of the resolution of the chord of the dominant 7th, it is easy to show that the natural progression of the sounds individually, is to the nearest sounds of that derivative chord, to which we may choose to proceed; but this is again affected by another law, which we may call the "equilibrium of concordant sounds," depending upon the same sure scientific basis which I may hereafter explain.-I remain, Sir, Yours truly,

Cheetham Hill, Manchester, April 25th, 1860.

W. W. PARKINSON.

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