"THE WORTH OF ART APPEARS MOST EMINENT IN MUSIC, SINCE IT REQUIRES NO MATERIAL, NO SUBJECT-MATTER, WHOSE EFFECT MUST BE DEDUCTED: IT IS WHOLLY FORM AND POWER, AND IT RAISES AND ENNOBLES WHATEVER IT EXPRESSES" — Göthe

SUBSCRIPTION-Stamped for Postage-20s. PER ANNUM

Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.

THEIR ROYAL HIGHNESSES THE PRINCESSES AND PRINCES OF THE MONDAY POPULAR CONCERTS.

MR.

FR. W. G. CUSINS'S GRANDE MATINEE MUSICALE, at Willis's Rooms, this day, Saturday, June 2, at half-past two. Artists: Madame RIEDER, Miss MESSENT; Miss LASCELLES, Madame SAINTON-DOLBY, Mons. JULES LEFORT, the ORPHEUS GLEE UNION, Mr. H. BLAGROVE Mons. PAQUE, Mr. J. THOMAS, Herr ENGEL, Mr. HAROLD THOMAS, and Mr. W. G. CUзINS. Salls, 10s. 6d. each, to be obtained only of Mr. W. G. Cusins, 53 Manchester Street, Manchester Square, W.; unreserved seats, 78., to be had at the principal Music Warehouses.

BY COMMAND.-PHILHARMONIC SOCIETY.

place at the Hanover Square Rooms, on Monday evening next, June 4th. Programme: Sinfonia in A (Italian), Mendelssohn; Overture, Ruler of the Spirits, Weber; Sinfonia, Eroica, Beethoven; Overture, Ruy Blas, Mendelssohn. Vocal Performer: Madlle. ARTör. Conductor: Professor STERNDALE BENNETT. To begin at 8. Door (in Hanover Street) open at 7. Tickets, 15s. each, to be had of Messrs. Addison, Hollier, and Lucas, 210 Regent Street.

THE ROYAL SOCIETY of FEMALE MUSICIANS, established 1839, for the Relief of its distressed Members. Patroness, HER MOST GRACIOUS MAJESTY THE QUEEN. On Friday evening, June 8, at the Hanover Square Rooms, will be performed, for the Benefit of this Institution, a MISCELLANEOUS CONCERT of VOCAL and INSTRUMENTAL MUSIC. Vocal Performers: Madlle. PAREPA, Madame RIEDER, and Madame SAINTON-DOLBY; Miss PALMER, MISS RACHEL GRAY, Miss ELIZA HUGHES, Miss EMILY GRESHAM, and Miss AUGUSTA THOMSON; M. JULES LEFORT, Mr. WILBYR COOPER, and Mr. SANTLEY. In the course of the Concert, the London Glee and Madrigal Union-Miss J. WELLS and Miss EYLES, Mr. BAXTER, Mr. W. CUMMINGS, Mr. LAND, and Mr. LAWLER, under the direction of Mr. LAND, will perform some of their favourite Pieces. Instrumentalists, Pianoforte: Mr. W. G. CUSINS and M. LEOPOLD DE MEYER. Piano Orgue: Herr ENGEL Flute: Mr. R. SIDNEY PRATTEN (who will perform on his new perfected Flute, with the old system of fingering). The London Quintet Union-Messrs. Willy, WESLAKE, WEBB, PETTIT, and REYNOLDS. Conductor, Professor STERNDALE BENNETT, The Concert will commence at 8 precisely. Tickets, 10s. 6d. each; Reserved Seats, £1 le. each, to be had of J. W. Holland, Secretary, 13 Macclesfield Street, Soho.

MR. AGUILAR respectfully announces that he will give MADEMOISELLE CAROLINE VALENTIN has

a MORNING CONCERT, at the Hanover-square Rooms, on Monday, June 4. Vocalists: Madlle, PAREPA, Miss LINDO, and Signor BELLETTI. Instrumentalists: Messra, 'ALFRED and HENRY HOLMES, Herr LIDEI, Mr. PRATTEN, Mr. NICHOLSON, Mr. LAZARUS, Mr. C. HARPER, Mr. HAUSSER, and Mr. AGUILAR. Conductor, Mr. FRANK MORI. On this occasion, will be performed for the first time in public, Mr. AGUILAR'S new Sestet, for piano, flute, oboe, clarionet, horn, and hassoon. Reserved seats, 10s. 6d. : tickets, 78.; to be had at the principal Music Warehouses and of Mr. AGUILAR, 17 Westbourne-square, W.

allegro molto; Aguilar: Messrs. Aguilar, H. Holmes, and Lidel. Aria, "Pieta
Recitativo ed aria,
Signor;" Stradella: Miss Lindo.
"Hai già vinta la causa ?"
(Nozze di Figaro):
tour les adieux, adagio Signor Belletti, Sonata, Les adieux, l'absence, et le ve
allegro; l'absence, andante espressivo; le retour, vivacis-
simo; Beethoven: pianoforte, Mr. Aguilar. Aria, Qui la voce " (Puritant); Bellini:
Madile. Parepa. Duo concertante, two violins (No. 9, in A minor); Spohr: Messrs.
A. and H. Holmes. PART II. Sestett, pianoforte, flute, oboe, clarionet, horn, and bassoon
(first time of performance); allegro moderato e piacevole, andante sostenuto, vivace ;
Aguilar Messrs. Aguilar, Pratten, Nicholson, Lazarus, C. Harper and Hausser.
Songs, "Appeal." In a Wood on a windy Day" Aguilar Miss Lindo. Solo, vio-
loncello (Lucia di Lammermoor); Lidel: Herr Lidel. Reiterlied; Aguilar; Signor
Belletti. Weber's last waltz, pianoforte Aguilar: Mr. Aguilar. Polka, from Le
tre nozze"; Alari: Madlle. Parepa. Bolero, pianoforte; Aguilar: Mr. Aguilar —
Conductor, Mr. Frank Mori.

that her

MUSICALE will take place on Wednesday, the 20th of June, at the Hanover Square Concert Rooms, at 3 o'clock. Vocalists:-Madame RIEDER, Mlle. VON KETTLER, Mons, DEPRET, Herr HERMANNS, and Mr. SANTLEY. Instrumentalists:Violin Mons. VICTOR BUZIAU. Violoncello Mons. PAQUE. Piano-Mile. VALENTIN. Conductor Herr WILHELM GANZ. Tickets, 10s. 6d. Reserved and Numbered Seats, 15s. To be had of Messrs. Wessel & Co., 18 Hanover Square; and of Mlle. Valentin, No. 6 Duke Street, Manchester Square, W.

ISS LEFFLER'S GRAND CONCERT at St. MADAME ARABELLA GODDARD and M.

MIS

James's Hall, on Tuesday Evening, June 5, at 8 o'clock. Vocalists: Madame LEMMENS SHERRINGTON, Miss AUGUSTA THOMSON, Miss PooLE, Miss ROSE HERSEE, Miss LEFFLER, Madame WEISS; Mr. WRISS, Mr. SANTLEY, Mr. BRANDON, Mr. JOHN MORGAN, and Mr. SIMS REEVES. Pianoforte, Miss ARABELLA GODDARD. Violin, Madile. SOPHIE HUNTER. Harp, Mr. ELLIS ROBERTS. Harmonium, Mr. ScoтSON CLARK, and DISTIN'S Ventril Horn Union. Conductors, Mr. W. G. CuSINS, Mr. J. G. CALLCOTT, Mr. SIDNEY NAYLOR, Mr. KINGBURY, and Mr. J. L. HATTON. Sofa stalls, 5s.; balcony, 3s.; area, 2s.; gallery and orchestra, ls. May be obtained of Miss Leffler, 71 Oxford Street; Mr. Austin, St. James's Hall, 28 Piccadilly; Keith, Prowse, & Co., 48 Cheapside; Messrs. Cramer & Co., and Addison & Co., Regent Street; Davies' Library, 35 Portman Place, Maida Hill; F. B. Garty, Esq., 7 Elizabeth Place, North Brixton; and Chappell & Co.'s, 50 New Bond Street.

LEOPOLD de MEYER, Herr MOLIQUE, Herr BECKER, and Sig. PEZZE, are all engaged to perform at M. BENEDICT'S GRAND MORNING CONCERT, on Monday, June 18, at Her Majesty's Theatre. Rossini's Stabat Mater. Mendelssohn's Ave Maria, Beethoven's Pastoral Symphony, Meyerbeer's Grand Schiller March, the Third Act of Rossini's "Otello," and La Prova d'un Opera Seria, will be performed by the eminent Artistes of that great establishment. Early application for the remaining Boxes, Pit Tickets and Amphitheatre Stalls, is solicited at the Box-Office, the prin cipal Libraries and Musicsellers, and of M. Benedict, 2 Manchester Square.

R. HAROLD THOMAS will perform at his

ISS HELEN M'LEOD will give her first SOIRÉE in E flat, Beethoven, with Messrs. H. and R. BLAGROVE and Signor PEZZE: Triolin D

ΜΙ

MUSICALE at the Queen's Concert Rooms, Hanover Square, on the 5th June, at half-past 8 precisely, under the Patronage of the Dowager Countess of Morton, the Countess of Rosebery, the Lady Lushington, the Lady Lacon, Mrs. Admiral Falcon, and Mrs. Colonel Borthwick."' Vocalists: Mdlle, ELVIRA BEHRENS; Miss ELEONORA WILKINSON; Miss HELEN M LEOD; Mr. TENNANT Signor CIABATTA, and Herr HERMANNS. Instrumentalists: Mr. G. A. OSBORNE; Signor PIATTI, and Herr OBERTHUR. Conductor: Herr WILHELM GANZ. Tickets to be had at Miss Helen M'Leod's Residence, 28 Acacia Road, St. John's Wood, and at the principal Musicsellers.

YREAT ATTRACTION for ONE EVENING.

GR

Mr. J. L. HATTON has the honour to announce that he will give a GRAND EVENING CONCERT, at St. James's Hall, on Wednesday, June 6, when the following unrivalled artistes will appear :-Mile. PAREPA, Miss PALMER, Mad. WEISS, Miss LEFFLER, Mrs. SIMS REEVES, and Mad. SAINTON-DOLBY, Mr. SIMS REEVES, Mr. WILBYE COOPER, Mr. YOUNG, Mr. RAMSDEN, Mr. WEISS, and Mr. SANTLEY. The English Glee and Madrigal Union, consisting of Miss BANKS, Mrs. LOCKEY, Mr, T. FOSTER, Mr. LOCKEY, Mr. M. SMITH, Mr. WINN, and Mr. LEWIS THOMAS. Instrumentalists: Pianoforte-Miss ARABELLA GODDARD. Violin-M. SAINTON. Violoncello-Signor PIATTI. Conductor Mr. J. L. HATTON. Several new Songs, Ballads, &c. will be introduced for the first time. Prices of admission-Stalls, 7s.; balcony, 4s. ; tickets, 2s. and 1s. To be had of Mr. Austin, St. James's Hall; Mitchell, Bond Street Sams, St. James's Street; Cramer, Beale, and Co, Regent Street; Chappell, Bond Street; Hammond, Regent Street; Addison, Regent Street; Leader and Cock, Bond Street; Keith, Prowse, and Co., Cheapside; and Boosey and Sons, 28 Holles Street.

MESSRS, LOUIS and ADOLPH RIES'S EVENING

CONCERT will take place on Wednesday, June 6th, at the Queen's Concert Room, Hanover Square, to commence at 8 o'clock. Vocalists:-Miss E. WILKINSON, Mlle. J. MEYER, Pianoforte-Mr. A. RIES. Violin-Messrs. L. RIES and DEICHMANNS. Viola-Mr. H. WEBB. Violoncello-Herr LIDEL. Contra-basso, Mr. C. SEVERN. Reserved Seats, 10s. 6d.; Reserved Family Tickets (admit three) £1. 1s.; Unreserved Seats, 7s. To be had of the principal Musicsellers; and of Messrs. RIES, IA Devonshire Street, Portland Place,

MR.

R. BRINLEY RICHARDS' ANNUAL CONCERT Vocalists Madle. PAREPA, Miss MESSENT, Miss WILKINSON, and Madame LAURA BARTER Mr. SIMS REEVES and Mr. SANTLEY. Instrumentalists:-Miss ARABELLA GODDARD, Herr ENGEL, M. SAINTON, M. PAQUE, and Mr. BRINLEY RICHARDS. Conductors Mr. VINCENT WALLACE, Mr. FRANCESCO BERGER, and Mr. WALTER MACFARREN To commence at 8 o'clock precisely. For full particulars see proCramme Sofa Stalls, 7.; Reserved Seats, 55.; Balcony, 3s., to be had of Mr. Brinley Richards, 4 Torrington Street, W.C., or at the principal Musicsellers.

permission) at Collard's Pianoforte Saloon, 16 Lower Grosvenor Street, W., a Quartett minor, Mendelssohn, with Mr. H. BLAGROVE and Signor PEZZE; Moonlight Scene (from Gounod's Opera "La nonne Sanglante," transcribed for Piano and Violoncello by Harold Thomas), with Signor PEZZE; Solos Gavotte Lilas, Peries d'Ecume, Kullak; Promenade Solitaire, Barcarolle, and Across Country (Chasse), by HAROLD THOMAS. Tickets, 10s. 6d. each: or Family Tickets (to admit three). 115.; at the Music Warehouses, and of Mr. Harold Thomas, 37 Maddox Street,

HERR ENGEL, in conjunction with M. JULES

LEFORT, begs to announce that his Matinée, will take place on Friday, the 29th instant, of which full particulars will be duly given.

OR

RCHESTRAL UNION.- Mr. ALFRED MELLON begs to announce that he will return to London about the middle of June, when he will be open to any Engagements for the Band of the Orchestral Union, which he has reconstructed. Principal Artistes: M M. SAINTON, H. HILL, W. WATSON, E. PAYTON, DOYLE, TRUST, G. COLLINS, AYLWARD, HOWELL, sen., WHITE, P. S. PRATTEN, ROCKSTRO, BARRET, LAZARUS, T. OWEN, HAUSSER, C. HARPER, STANDEN, T. HARPER, STANTON JONES, W. WINTERBOTTOM, CIOFFI, HUGHES, and F. C. HORTON. Applications respecting engagements to be made to Mr. George Dolby, 2 Hinde Street, Manchester Square, W.

WANTED immediately, for a Country Establishment

in the West of England, a Young Man of good address and ability as ASSISTANT TUNER. One having a knowledge of the Paper Trade would be preferred. Unexceptionable references given and required. For particulars apply by letter, stating qualifications, and salary required, to Messrs. B. and Co., care of W. Armstrong, Esq., 49 George Street, Portman Square, London.

Night Watchers, written by J. F. WALLER, composed by JOSEPH ROBINSON; Eventide, ditto, ditto; Lady Mary, written by the Rev, HENRY ALFORD (Dean of Canterbury), composed by JOSEPH ROBINSON. (Cramer, Beale, and Chappell.)

IZONA

THESE are all good songs, well written, melodious and and the subjoined :-
expressive-model ballads, in short, worthy the pen of the
able musician whose name they bear. Mr. Robinson has
a feeling for rich harmony and modulation, which is most
happily displayed in his accompaniment. We wish accom-
paniments to drawing-room songs were invariably composed
with such correctness and refined taste; our task would be
much more agreeable. Perhaps the best song of the three
now before us is Eventide, which has a very graceful
theme, is harmonised faultlessly, and contains a point of
transition on the words "All the world from toil reposes,"
as beautiful as it is unanticipated. Spohr might have
written pages 2 and 3 of Eventide..

Berceuse, for the pianoforte by ERNST LUBECK. (Cramer,
Beale, and Chappell.).

EVERY virtuoso of the first stamp brings over a Berceuse,
or cradle-song, to rock John Bull to sleep, while he, the
virtuoso, is skipping about the key-board of the instrument
for his own especial satisfaction. Chopin produced one
which had enormous success. Hence the mania. But
unhappily the Berceuses which are not Chopin's are for the
most part poor affairs, without invention and without taste.
Herr Lubeck's is neither better nor worse than some dozen
others we could name. That it has not much originality
may be gathered from the theme, which sets out thus:-

must not be allowed to pass without protest. The best number is No. 4; the tune of which bears a faint resemblance to "Polly, put the kettle on."

f

Under the Linden Tree. Serenade, words by T.P. WOOLLER, Esq.; music by MEYER LUTZ. (Duncan, Davison, and Co.)

HERR LUTZ, in endeavouring to avoid the common track, occasionally gets unpleasantly involved. Where is his authority for the following ?-

?

And for the following? ZOLTOAI

The theme is carried through the various stages of manipulation proper to Berceuses which are the creations of virtuosi of the first stamp. The accompaniment, at every repetition of the melody, (if melody it may be termed) gets more and more ornate, until before the end it is fairly smothered in passages of bravura. What Herr Lubeck has done in this way is ingenious enough; but the form is so utterly used up, that no one but a genius could possibly revive the interest it once excited; but, unfortunately for Herr Lubeck, and for his Berceuse, Herr Lubeck is not a genius.

The Boswell Waltzes, composed and arranged for the
pianoforte, by R. T. Ross. (Robert Cocks and Co.)

THE composer of these waltzes should look to his grammar.
Such points as the subjoined:

D minor, through a feint at G flat major, to get back to At the bottom of page four, there is a transition from the original line, F major, which sets out thus:

f

and is in the last degree objectionable.

[JUNE 2, 1860

Hode 1 Hoavur fol an; en1974 MUSICAL DOINGS AT BRUSSELS. 571 pdf word Ichiyody oom boyneita od of 71108 of ton blow it w Brussels, May 16th, 1860.

SIR At the conclusion of the musical season, you have expressed a wish that I should furnish you with an epitome of the most remarkable circumstances that have occurred at Brussels. I can offer you only some very incomplete notes, for my leisure of which I have not enough for what I should like to do will not allow me either to see or hear everything. This is no misfortune as far as my ears are concerned, but it cannot fail to render me a very bad correspondentor on ob 1

Musical matters are, generally, badly organised in our churches, because we have not money to do anything worth mentioning in a really artistic sense. I will therefore, not speak further of this subject.The elements are certainly not wanting, but people neither have the knowledge nor the desire to employ them as they ought, Jon of

With regard to the theatres, they have had phases of good and of bad fortune. The Theatre Royal has not been able to reap any advantage from its grand opera company, although the latter contains some artists of merit, on account of the monotony of its repertory! This repertory, always the same, and given over and over again for a long series of years, can no longer possess any attraction for the public. It ought to be renewed; but it can only be renewed by works played with success in Paris, and you know how rare those are. With a floating population of some two or three hundred thousand strangers, the Opera in the Rue Lepelletier obtains paying houses with very moderate attraction; but at Brussels the receipts always depend on the same people, and, to make them come, it is necessary to have novelty. pig t

The good fortune of our Theatre Royal, during the dramatic year, has been founded on the performances of Le Pardon de Ploemel, of the Dragons de Villars, and the pleasure taken by the public in Madlle. Boulard's singing. In Paris they did not see what could be made of this lady's talent, and did not bring her forward in important parts. She was compelled to sing in the Papillotes de M. Bénôt, and other productions of a similar description, which, although I have not the slightest wish to depreciate their merit, are certainly not alapted for a brilliant vocalist. At Brussels, Madlle. Boulard has, as the saying goes, been quite the rage (fait fureur), and, without doubt, frequently merited the popularity she enjoys. She has progressed in her success, as is the case with artists who really possess talent, but she has abused her strength, having sung at the theatre, or at concerts, five times a week. At present she is knocked up (fatiguée); she must take care what she is about. t di bomotion wor Todd word ton ob I

We have got among us M. Merelli from Milan, who has brought some good artists, and some but middling ones, who has established his company at the Cirque, a large dirty house, but well adapted for music; who found in the above theatre an execrable band, which used to play

put under his excellent conductor, M. Orsini, whose despair at finding himself at the head of such elements I can easily imagine. M. Orsini was under the necessity of summoning to his aid a few violinists of

talent, who, fortunately, answered his call, but who cannot always sucThis, however, is nothing in comparison to the members of the chorus, cessfully contend against the beings by whom they are surrounded.

As for concerts, we have had a deluge of them! You know what this is, and M. Botte still better than you. How much I frequently pity young artist, who is such a good musician, and so judicious, so delicate a critic, endowed with such good taste, at having continually to attend them, and distribute a little bit of incense to each person so as to create no jealousy. As for myself, I am not so unfortunate; I do not go to hear anything of the kind. Only things really valuable, or which, as curiosities, present some kind of interest, can make me leave the form, where, like, a hare I am always ruminating; "Car que faire dans un gîte, à moins que l'on ne songe ?" gior

used in church music, even when it is required to be most solemn
and impressive. It embraces in its scale all the degrees of tone,
from the six-inch pipe to the thirty-two feet; and hence it gives
the sound of all reed wind instruments, from the largest to the
smallest. The six-inch reeds lay claim, moreover, to the high-
sounding title, and it is not an unworthy ambition, of vox humana,
while the sixteen-feet reeds represent the trombone and the
bombarde; this last being an old reed instrument of the sixteenth
century, though they
two-feet reeds, which are commonly not
more than twenty-four feet in fact, represent the contra-bombard,
called by the Italians the bombardare, as they have made trombone
out of tromba.

The concerts of M. Richard Wagner, a repetition of those he gave in reality; and the thresent it perhaps more in the name than in

Paris, caused a great sensation in Brussels. A thousand absurdities were circulated concerning them in the papers of the estaminets and taverns; as for myself, I shall say nothing about the matter, because I have already treated it seriously. This music is addressed to a future which would not be sorry to be changed into the present; I have the future to explain.

It is at the concerts of the Conservatory that grand music is usually to be found in all its splendour, because it is there rendered with a finish which is the result of conscientious study. This year has been marked by progress in certain things, in which the orchestra has approached as nearly as possible to perfection, the necessary dream in all arts a happy dream, although never absolutely realised. i

I do not restrict myself in the programmes of these concerts to purely classical works, I leave the door open to men of the present day, and there has not been a year during which I have not produced some unt published overtures or symphonies. I have, it is true, a hard struggle with the exclusive admirers of consecrated names, but I stand firm, and do not allow myself to be influenced by their prejudices. At the third performance I gave a concert overture composed by M. Hartog, already known by a great many other works. He has taken his subject from the tragedy of Macbeth, where the grand genius of Shakspere has in dulged in its boldest flights. M. Hartog's overture is energetic in its character, and well adapted to its subject. It is broadly developed in its system of unity, and the instrumentation is very intelligent. It is the work of an experienced composer, and shows that he possesses a firm hand in art of writing for the orchestra, bag zívfI di za At the last concert I brought out an unpublished symphony by M. Meynne, one of the first pupils formed by me in composition at Brussels. It obtained a very legitimate success. Without aiming at gigantic proportions, M. Meynne rises to a character of grandeur in several parts of his work; the connection of ideas is natural, and we also meet with unexpected effects. The scherzo, the andante, and the finale, in particular, produced a marked impression on the audience and obtained the approbation of the artists. This debut ought to encourage M. Meynne, whose only fault is that he has delayed it too long to i Rastar At this last concert I thought I would restore to the prodigious finale aft of the second act of Le Nozze di Figaro its true character, which had completely disappeared in the performances of this opera at the Théâtre Lyriques in Paris, for, according to its custom, the Parisian public 1993 placed all the value of this colossal work in the singing, which, it is true, was very seductive in the singing, I repeat, of the three talented ladies to whom was entrusted the task of interpreting it. The traditions of this music are no longer possessed in France. With the orchestra of the Brussels Conservatory the effect was magnificent)? 10eYJA I do not know whether you will be contented with what your corfa respondent has sent you; however, there it isoute 102 978 *bad gatiobum and omnes Yours, most truly, seuns 101 burg pe now and pencil uk was a wet da os boen donlw „band oldes

J. FÉTIS SEN

THE reed stops are the third great class of registers. We will

The grave inconvenience of reed stops, considered instrumentally, is that the treble notes overpower the basses. This arises from the fact that the depth of tone depends on the increase in the size of the tongue and reed. Hence the lower the sound descends towards the bass, the stronger does it of necessity become. The tongue, on the contrary, becomes smaller as it ascends higher into the treble notes; and therefore, also, the sounds produced by it become thinner or weaker, and out of all proportion with the fulness in volume of the sounds of the bass. This is also so much the case, that for the full effect of the higher sounds, reed stops by themselves are not enough, but require to be strengthened with some member of the flue-pipes. There are, indeed, some builders who, not being able to obtain sufficient power with their reed stops in the higher octaves, make use of flue-pipes for this purpose instead of reeds, and voice them as keen and clear as possible. More commonly, however, the organist, in order that the two or three last octaves of a reed stop may be heard distinctly, combines with it a very forcible mixture called a cornet, which, when it is well managed, decreases in power in proportion as it approaches the bass, and therefore gives additional strength to the treble notes of the reed stop only. None of these plans, after all, are quite equal to the task of raising the reed stops to exactly the same position as the flue stops, because, when they are added, they make a complete change in the quality of the register, of which it is intended they should be only a continuance; in fact, they do nothing more than cause it to break off abruptly at a given place, and from that place put themselves instead of it.

The character, then, of reed stops is exactly the reverse of flue stops, since these last yield piercing sounds in their treble notes, and are, comparatively speaking, veiled in their sound in their basses. The consequence of this opposition makes itself especially felt in the song of the Church in both of these stops. In France, where the national character is lively and positive, the common way is to make use of the reed stops in accompanying the ecclesiastical chant; and as the trebles would naturally be covered by the vigour of the basses, it is these basses that are used to intone the melody of the Church, namely, the plain chant. It would be easy to show to such persons as do not see it for themselves, that to make in this way a bass of a popular chant is wholly at variance with the original intentions of the composers of this chant; for the voice of the people is not a bass voice. It could be easily shown also that the counterpoint, the best of its kind in this odd sort of music, in which the treble, used as the accompaniment, made to take the place of the bass, and the bass that of the treble, an offence against common sense than a counterpoint at all.

ou not speak of those that are called free reeds, because their appli-reed stops must not on allocal chant, has caused this

use

cation is too exceptional, but of the stops with reeds which beat, of the reed stops which are altogether classical, and in general the bright sound of which has also a certain metallic roughtraviolence, and at each vibration, beats against, sreech, which is also of metalon asilosidod to drow vimmda tedi

This kind of register, the introduction of which has completely changed the former character of the organ, on account of the vigour of its sounds, and their great majesty as compared with Lilother registers, in certain combinations and on some occasions, is

From L'Orgue, sa Connaissance, son Administration, et son Jeu (22nd Etude), by M. Joseph Regnier, of Nancy.

as

It is in accordance with the rules of harmony to give the melody to the right hand and its accompaniment to the left; but then the be employed. The French fashion of making use of the reed stops on even in the most simple form of recitative, that of the chant to become coarse, harsh, and insupportable; and the French has most such is are hard and without expression. Our builders, as regards soft stops, have, to speak generally, remained stationary; while the German builders, on the contrary, have not ceased a moment from creating the most delicate varieties of sounds in all shades of tone in this kind of stop. But let us take courage: for some years past our most eminent builders, though they are but few, have set to work to imitate the delicacy of the Germans in these matters; and, where the French begin by imitating, they generally end by surpassing,