MONDAY POPULAR CONCERTS. (From The Times.) THE programme at the 23rd concert, which took place on Monday night at St. James's Hall, was, with the exception of Rossini's fifth quartet and an air from Salieri's Tarare, entirely new. It says much for these entertainments, and for the enterprise with which they are conducted, that although so many have been given within an interval of six months, crowded audiences are still found to attend them; it shows, moreover, that (as we have always maintained) a large public does exist in and about London for music of the highest class; while, on the other hand, it establishes the fact that the materials at disposal are pretty nigh inexhaustible. Out of fifteen pieces on the present occasion, only two had been heard before at the Monday Popular Concerts; and yet the selection was entirely made up from the vocal and instrumental compositions of Italian masters. Without over-estimating the truth, however, it may safely be concluded that 100 such programmes might easily be compiled from the same source. Boccherini-with one of whose quintets for stringed instruments (No. 5, Op. 20) the concert began, and one of whose sonatas for two violoncellos (played by Signor Piatti and Herr Schroeder) constituted an agreeable feature later in the evening-has left so many works of the kind that, probably, not more than a twentieth part of them are known to any but to those with whom it is a favourite occupation to trace the gradual progress of the art through all its multifarious phases up to the actual stage of its existence. The music of Boccherini-a protégé of the Spanish Court, which, during a great part of the 18th century, was addicted to patronising musicians-has a peculiar and almost indefinable charm. It may be likened to a young girl who, in sportive mood, has put on her grandmother's cap and appendages. The dress alone is antique; the ideas are as new and fresh as those of yesterday. Then to pass from the comparative infancy to the ripe maturity of art, in the quartets of Cherubini, the second of which, in D minor, formed an important item in the programme, we witness the greatest dramatic composer of Italy (save Rossini) striving near the latter end of his career, to emulate Beethoven, when, Beethoven's invention being on the wane, the favoured "tone-poet" expressed himself almost exclusively through the medium of his intellectual faculties. But as Beethoven, apart from his other gifts, was eminently the most intellectual of musicians, he succeeded in producing, towards the decline of his creative power, what Cherubini could never have produced even at the richest period of his artistic life. Nevertheless, that which Cherubini accomplished in his attempt to tread in the steps of so formidable a compeer-by whom he was esteemed at even more than his intrinsic worth, and whom Cherubini only learned thoroughly to appreciate when too late to profit by the slowly acquired experience is full of genuine interest; and possibly the quartet in D minor if less "effective," to employ the conventional term, than the one in E flat major, where the influence of Mendelssohn, another extraordinary and original genius, seems to go hand in hand with that of Beethoven-is the most remarkable effort the learned Italian has made to realise for himself, as it were, a new world. There is, at the same time, a not less wide distinction between this and any of the later quartets of Beethoven than between Medea, the finest opera of Cherubini, and Fideo be more pera of his unequalled con temporary. Mendelssolin may or less successfully imitated; but to imitate Beethoven, no matter who may be the imitator, can only result, at the best, in partial failure. The Directors of the Monday Popular Concerts had already afforded their patrons an opportunity of appreciating Cherubini's quartet in E flat; and it can hardly have been forgotten that what pleased most universally in that ingenious and masterly work was the scherzo-where Beethoven and Mendelssohn appear to strive for predominance, and Mendelssohn to carry off the palm. This was decidedly more to the taste of the audience than the one in D minor, although the latter was in every sense perfectly executed by Herr Becker (one of the most finished and legitimate quartet-players now before the public), Herr Ries, Mr. Richard Blagrove, and that incomparable violoncellist, Signor Piatti The remaining instrumental pieces were Clementi's spirited, genial, and melodious pianoforte sonata in C major (Op. 34), and three of the admirable" Lessons" of Domenico Scarlatti (another famous protégé of the Spanish Court), including the celebrated fugue in G minor. The theme of this fugue, according to the generally received tradition, was suggested to the musician by the incident of cat walking over the keys of the harpsichord, and striking the intervals of which the first three bars are composed. Hence the popularly received denomination, "Cat's Fugue.' Both Clementi ("father of the pianoforte") and Scarlatti (its grandfather?) appeared to entertain their audience, who applauded both with enthusiasm, and recalled the pianist (Miss Arabella Goddard) at the termination of the "Lessons." The vocal music-in every instance well given, the singers being Mademoiselle Parépa, Madame Laura Baxter, Mr. Tennant, and Mr. Santley-furnished characteristic specimens from the operas of Paesiello, who, the first to set the Barbiere di Siviglia, having usurped the throne of Piccini, yielded in turn to Rossini; Jomelli, predecessor of Piccini, and the most learned Italian composer of his day, who taught Germany melody and Italy harmony; Salvator Rosa, who, though a great painter, like Leonardo da Vinci, was also (like Leonardo) a more than average musician; Paer, author of countless works for the theatre, who first set the book which Beethoven afterwards immortalised as Fidelio, was Rossini's predecessor as director of the Paris Italian Opera, and Cherubini's as principal of the Conservatoire; Piccini himself, the rival of Gluck, and about whom the unenvious Jomelli, that other and still more gifted musical illustrator of Beaumarchais, seeing his own vogue on the point of being eclipsed, said aloud to his compatriots, after a performance of La Buona Figliuola, "Ascoltate la sentenza d'Jomelli-questo è inventore," ("Hear the judgment of Jomelli-this is an inventor"); Salieri, the jealous opponent though certainly not the poisoner (even M. Oulibischeff rejects that slander)-of Mozart, and composer of an opera which those mighty connoisseurs, the Parisians, for a long time imagined to be Gluck's (Les Danaides); and Blangini, whose genial melodies alone should have preserved his dramatic works from oblivion. With all of these we cannot afford space to single out any one of them for special notice the audience were enchanted, and no concert of vocal and instrumental music in our experience was ever more heartily enjoyed. Mr. Benedict being engaged at Her Majesty's Theatre, Herr Ganz took his place as accompanist at the pianoforte. To act as substitute for Mr. Benedict in this responsible position is about as difficult as to replace Grisi in Norma, Alboni in Arsace, Mario in Almaviva, Ronconi in Figaro, Tamburini in Don Giovanni, or the late Lablache in Don Pasquale. Nevertheless Herr Ganz laboured zealously to sustain his own credit and that of the Monday Popular Concerts. HERR MOLIQUE'S CONCERT.-The annual concert of Herr Molique, the eminent composer and violinist, took place at the Hanover Square Rooms before a crowded and fashionable audience. The programme contained too few of the concert-giver's own masterly and beautiful compositions, a selection from which might very properly have been given on such an occasion. In compensation, however, several works by other great writers were introduced; for instance, Mendelssohn's pianoforte trio in C minor, and Beethoven's Sonata in G major (Op. 96) for piano and violin; and these were very finely performed, the executants being Herr Molique, Signor Piatti, and Madlle.. Anna Molique, whose playing, distinguished by unerring mechanism and a thorough appreciation of the author's meaning, left nothing to be desired. To say that Madlle. Anna Molique, who is still very young, proved herself a worthy associate of such artists as her father and Signor Piatti, two of the most accomplished performers of the day on their respective instruments, is giving her Madlle. Anna Molique were further exhibited to advantage high praise, though not more than she deserves. The powers of in "an original melody for the pianoforte " by Herr Pacher, which she gave with the utmost delicacy and grace. Herr Molique's ability as a virtuoso was severely tested in an unaccompanied solo by M. Leon de St. Lubin -a piece of prodigious difficulty, entirely beyond the means of any but the greatest violinists, and only possible to them in their happiest moments. Herr, Molique, however, attacked it with heroic resolution and all the steady confidence of a practised master, and the result was a triumph of less, have preferred listening to Sebastian Bach's chaconne in D executive art such as is very rarely heard. We should, nevertheminor (which Herr Molique plays so magnificently), or some other solo piece more suited to his classic genius. Another extraor dinary display was that of Signor Piatti in two morceaux de salon, composed by himself. The vocalists were Madame Catherine Hayes, Mr. Santley, and M. Depret. Madame Hayes distinguished herself honourably in Herr Molique's graceful and musicianly song, "The Gondolier," which was enthusiastically applauded. M. Depret was most successful in a new song by Signor Biletta; while the fine voice and admirable talent of Mr. Santley were most advantageously exhibited in a grand aria from Mozart's Idomeneo. The concert ended with some of Herr ន violin, violoncello, and harp; new fantasia on Dinorah; and Parish Molique's beautiful Melodies for the Violin, played to perfection by the composer. Messrs. Benedict and Cusins were the conductors. FLORAL HALL The first of the series of "Four Grand Concerts," announced to be given in Floral Hall, came off on Wednesday, and attracted a numerous if not a crowded attendance. Our readers have had already a full account of the architectural proportions and other properties of the new concert room, built by the director of the Royal Italian Opera. We have only to add that the building seems admirably adapted for the purposes of hearing, the most piano notes from the instruments and voices being distinctly audible in every part of the Hall.. Floral Hall is a miniature Crystal Palace in appearance, and, as we learn from the advertisements, is intended to be converted to as multifarious purposes as the people's great show-house at Sydenham. In addition to musical entertainments, it may be used for the less artistic purposes of flower shows, balls, dinners, suppers, lectures, and meetings agricultural, political, social, and religious. Where Grisi and Mario are heard one day warbling their tenderest melodies, Messrs. Cobden and Bright, on the following, may be hurling the thunders of their eloquence against aristocrats and soldiers, and on the next, the Rev. Aminadab Sleek may be denouncing all those who deny his call to be the universal shepherd; or Giles Stubbles, the Bedfordshire yeoman, in doubtful county vernacular, may uphold the sacred immunities of Conservatism, and the necessity of high-priced quarterns. Wine vaults, too, it is said, are built under the flooring, of such capaciousness as to threaten the monopoly of the London Docks; and the wine-tasting gentry of the metropolis-a large class-are in ecstacies at the prospect presented them of bringing their favourite pursuit so close at hand. The concert on Wednesday was every respect identical in plan with the Italian Opera Concerts at the Crystal Palace, which for the last few years, during the season, constituted so attractive a feature, and which this year have been provided by the company of Her Majesty's Theatre. The band performed the overtures to Der Freischutz and Zampa, both splendidly, as may be supposed; the chorus sang the introduction to Guillaume Tell, assisted in the quartet by Madlle. Corbari, Madame Nantier-Didiée, Signor Gardoni, Šignor Polonini, and M. Faure; Mr. John Barnett's madrigal, Merrily wake music's measures"; and the prayer, "Nume del ciel," from Masaniello. Signor Mario was encored in the serenade, "Com' e gentil," from Don Pasquale; and Mesdames Grisi and Nantier-Didiće obtained the same compliment in "Giorno d'orrore," from the duet, "Ebben, a te ferrisci" (Semiramide). Madame Grisi sang "Qui la voce," from I Puritani, with great applause; Madame Miolan-Carvalho gave the "Carnavale di Venezia," and joined Signor Gardoni and M. Faure in the trio, "Tintinnar," from Dinorah; Madame Csillag introduced the bolero, "Mercie, jeunes amics," from Les Vepres Siciliennes, besides contributing to the grand trio from Fidelio, "Corraggio "; Madlle. Corbari gave Cherubini's air from the Nozze di Figaro, "Voi che sapete," and took part in the quartet, "Padre nostro," from Dinorah, with Madame Nantier-Didiée, Signors Neri-Baralditive manner; while the Sonata of Dussell, in which Mrs, Macfarren and Tagliafico; Signor Graziani sang the romanza (Ronconi's romanza), "Ah! non avea più lagrime"; Madame NantierDidiée undertook "Ah! mon fils," from the Prophète; Signors Neri-Baraldi and Graziani joined in Rossini's duet, "I Marinari "; and Signor Gardoni, Signor Ronconi, and M. Faure contributed the comic trio, “ Pappataci," from the Italiana in Algeri. Madame Penco was set down for two pieces, but did not appear; nor was any apology offered for her absence-a somewhat questionable omission in the case of so eminent an artist. HERR CHARLES OBERTHUR'S morning concert came off on Saturday at Willis's Rooms, in presence of a large and fashionable assembly. The vocalists were Miss Lindo, Miss Eleonora Wilkinson, Madile. Behrens, Herr Mengis, and Herr A. Muller; the instrumentalists, Miss Arabella Goddard, Miss L. Viola Trust, Mr. Trust and Herr Oberthur (harp), Signor Giulio Regondi (concertina), Herr Lidel (violoncello), and M. A. Daussoigne Méhul (harmonium). Herr Oberthur's share of the programme comprised, duo brillant on the Trovatore, for piano and harp, with Miss Arabella Goddard; his own nocturne for three harps; a new and original trio for MRS. JOHN MACFARREN gave her annual Matinée of Pianoforte Music on Saturday, at the Hanover Square Rooms, and, as usual, her strong and commendable predilection for the classic school was manifest in the programme. Such pieces as Dussell's Sonata, in B fint, for pianoforte and violin; Beethoven's Sonata, in D minor (Op. 31, No. 2); Mendelssohn's Tema Con bariazioni, in D, for pianoforte and violoncello; and Moscheles' Grand Duo, Hommage à Handel," for two pianofortes, would of themselves have made a first-rate entertainment, if concert-goers were only content with a little and good. In all these pieces Mrs. John Macfarren exhibited remarkable powers of execution and unerring taste. The Solo Sonata of Beethoven was given in a truly effecwas assisted by M. Sainton, and Mendelssohn's "Tema," with Signor Piatti at the violoncello, both displayed the execution and feeling of the pianists to special advantage. In Moscheles' Duo, which was given to admiration, Miss Arabella Goddard was the other pianist, and the performance of the two ladies was received with irrepressible delight. In addition, Mrs. Macfarren played several minor pieces, of which Mariana, by Mr. Walter Macfarren, appeared to please most. Signor Piatti and M. Sainton both executed solos of their own composition. The singers were Miss Palmer, Miss Fanny Rowland, and Mr. Santley, Miss Palmer contributed two Canzoni Toscani, by Gordigiani, charming vocal bagatelles, sung with genuine sentiment; Miss Fanny Rowland sang "The beating of my own heart," with peculiar grace. Mr. Santley gave "Tutto è disposto," from Figaro, and Mr. Wallace's Bell-ringer," in his most effective manner, Mr. Walter Mac farren was the accompanist. MASTER HORTON ALLISON, pupil of Mr. W. II. Holmes, gave his second pianoforte performance on Tuesday evening at Willis's Rooms. He played Hummel's Sonata in E flat (dedicated to Haydn), F. Hiller's Huit Mesures bariées, of Cipriani Potter's the opera did not fail-not in a musical sense at least ; but the legend Holmes striking progress. His best performances "Don Ju making scene a of terminated (as on Tuet at Her Majesty's Theatre) by a without book no ordinary feat for a boy were played display of fireworks; but most absurd of all is it to see "Don Juan" ་ ་ ། twelve, 9 Holmes's left quietly to himself after the ghostly Commandant has had a few minutes' conversation with him." yd Invitest out oterao-con bes were Mr. Potter's Bravura (encored), the Otello Fantasia, and the Fairy Fingers of Mr. Holmes The charming fantasia was perhaps best of all. It certainly pleased most! Master Allison has undoubtedly a "future" in store. Vocal The substitution of with" fob without, in the 11th and 17th solos were contributed by Miss Marian Moss, Miss Theresa lines, entirely subverted the meaning of the writer.de-wallo Jefferys, and Mr. Wallworthi Miss Jefferys sang the beautiful menys awas not mode javelo) in sallitt baraibat air, Canst thou deem my heart is changing?" from Mr. Mac- biyoz dozdobno. I farren's King Charles the Second, most admirably. Miss Marian Moss gave the romanza Va, dit-elle," from Robert le Diable, and Spohr's "Rose softly blooming," both extremely well. Spohr's " from Don Giovanni, and the ballad "I never from Mr. Alfred Mellon's Victorine. Mr. Balsin executed a fantasia of his Pis own composition on the harp, and was admirably accompanied on the piano by Mr. W. H. Holmesmo abobnall mon of aliw olqooq 11 To Correspondents, dis aid of wond FABULOUS. Fabulous Fable" has not been published, for the best " of all reasons it. to hand. pieces have been mislaid; but 250 the shade, was perhaps the best delivered. "Mr. Wallworth R. S. (Dublin). Have we been too “diffuse pearance in this country); Dames d'Onore, Mdiles. NARDI and DEL'ANESE ; Valen tina, Malle. TITIENS. Conductor, Signor ARDITI. First appearance of Madame LOTTI. First night of ERNANI. On Monday, June 3, will be performed, first time this season,* Verdi's Opera of ERNANI Ernani, Signor MONGINI: Carlo Quinto, Signor ALDIGHIERI; Silva, Signor VIALETTI, Giovanni, Malle. NARDI; Elvira, Molle. Lorry (her LES HUGUE first appearance at this theatre). On Tuesday, June 5, will be VIALETTI). NOTS On Thursday, June 7 (TITIENS, ALBONI, GIUGLINI, IL TROVATORE. On Saturday, June 9, will be repeated LES HUGUENOTS. search shall be made for T. M. The pamphlets shall receive attention as early as possible! first appearance on Tuesday, June 5, in a new Ballet, composed expressly for her by ADVERTISEMENTS are received until Three o'clock on Friday After OBERON. Principal chara BONI, Signo TIENS, Mdlle. Malle VANERI, Signor BARRI. In active preparation, and will shortly be produced, with new and ex HER ER MAJESTY'S THEATRE. First Night of MICHAL (her first appearance france in ductor Signor ARDITI. The Opera commences at 8 o'clock Pit Tickets, 8s. 6d. 3 FRENCH PLAYS ST. JAMES'S THEATRE. o'clock daily, and at the principal Music Warehouses and ERRATA. – The third paragraph in the second feader of our last —T week's number should stand thus, moat or a GREA Bobbie is "However that may be, é, nothing can be clearer than that in represent ing the story of Don Juan (de Tenorio) it is essential that the statue of the Commandant should be invited to supper, that he should accept the invita tion, and that he should ultimately take his irreverent host away to sup with 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 at Her Majesty's of all e aplike the tuligion Groparu, last The day revolutions of the earth on its axis, during the fifth circular voyage of the satellite Luna su i rodom, lol 200007 Jon Buren? Aod Wandering companionless: bra (dro were devoted to the glad event. Düsseldorf, the gardencity of the "river of Rhene" (or Rhine), was the favoured locality, Köln (or Cologne), the City of the Magi, having been thus distinguished the year before, and Aachen (or Aix la Chapelle), the City of Carlo Magnus (or Charles magne), the year before that nk badi bus your sides Among the stars that have a different birth," bra lot! rican divine mentioned by Mr. Buck cept in this sanhat give charity a voice in their rejoicings, the Hoch-quaffing the "Art Work of the Future," is too comical. On the contrary, they much more properly belong to the past. Herr Wagner would scout them. Rhenish burghers make theirs a mere bond of harmonious brotherhood among the triple populations. The Düsseldorf meeting derives additional interest from the fact that Men delssohn at one period chose Düsseldorf as his head- Of the execution of Handel's Samson, our Correspondent quarters; and that at Düsseldorf, in the same month of writes: (allowing for some necessary abbreviations) as May (1836), he first brought out his immortal Paulus. follows plus I 340 lt (b9m)19) Dal 19716 17 There is no Moridelestin direct the All the choruses were magnificently executed'; but unfortunately and consecrate the festival by the presence and example of this was not with the solos. The Germans go upon the econogenius bat, in place of Mendelssohn, there is Mendelssohn's mical system: thus the solos were not in the hands of first-rate artists. fellow-student and intimate friend, Hiller Kapellmeister. It is a case of Mes beaux jours sont passés with Madame Jenny Ferdinand Hiller, of Cologne, whom-for some reason only lom Schreck (alto) sings carefully, and has some very good notes. The Bürde-Ney, her singing now being little better than screaming. Frauknown to his amiably white as self-Mendelssohn would, tenor, Herr Schnorr, must have been suffering from a cold, for he at the Paulus-fete, invariably "Hiller's Studies." literally snored through his part. If he be the most magnificent tenor mes Hiller's Studies," he would say to some singer in Germany, bad must be the best, Herr Stockhausen, the bass, is an artist to whom one can listen with pleasure, But the English friends, on spying out his old "chum," while a Düsseldorf fanatics attach too much importance to the abilities of all smile would light up that countenance which was rather these singers. Mr. Hiller hs made, additions to the instrumentation the countenance of an angel than of a man, and show the of some of the airs in Samson; and noen omitted, Bearbeitung and less than five e were introduced, restored, that have always hitherto Verbesserung! There is no organ in the Düsseldorf Music Hall, nor is it customary in Germany to give Handel's choruses with organ accomwell performed, they must go to England." paniment. If people wish to hear Handel's compositions thoroughly bright side of the angelic nature at its brightest. Ferdinand Hiller, Principal of the Conservatory at Cologne, is also an admirable musician, as all musical Europe knows; and a capital fellow, as is best known to his friends. Since Mendelssohn deserted the Rhine, to walk in the shadow of John Sebastian Bach at Leipsic, the city of the ThomasSchule no such popular chief has been known, to Düsseldorf, Cologne, or Aix, as Hillersjod ganā. No, the subjoined was the programme:- Cherubini. 1. Overture, "deldung Roms F. Hiller to 2 Ver Sacrum, 119 Selection from Iphigenia in Tauris * Gluck! 283 4. Symphony in A major (No 7); Beethoven. The overture of Cherubini was, it appears, admirably played. Indeed, the orchestra at this festival, if the ear of Philomousos" may be necredited with sharpness, carried all before it. Read the subjoined, in reference to Beethoven's symphony :—-** On the whole, to judge by our correspondence, the 37th Niederrheinisches Musik-Fest was not one of the most brittant on record. Dusseldorf looked as gay and animated as of yore, it is true; and the morning rehearsal in the Ton Halle as busy and exciting. The programme, however, does not appear to have afforded unanimous approval. At the first performance concert (Sunday), which began at 6 P.M., (what would our late dinner fashionables have said to that ?) the selection comprised Robert Schu- of the orchestra for their attention to nuances. The crescendi and dimimann's orchestral symphony in B flat, and Handel's oratorio of Samson-Samson according to Mosel, one of the med-nuendi were perfect," write the bar for TEST dlers who have re-adjusted the giant's proportions. Of Schumann's work, a correspondent writes: り "With regard to Schumann's symphony much cannot be said, for a more chaotic composition, 1 should think, was never heard); and had it not been performed by a remarkably fine orchestra, nobody would have sat it out."81 S MV 'L MACHITZ2 :VOJZOI "No words can sufficiently express the praise due to all the members ,ཟླ་ལྟ་H།༩ ཟླ Gluck seems not to have fared so well, however: to 1 T झ aff Music is certainly in a state of anarchy in Germany at the presert to Tuesday,rd and last performance, which The selection from Iphigenia in Tauris was but a poor affair. The whole went astray, as did also Hiller's composition," &c. well as if an I What follows is a tirade of the most abusive character, directed not only against Hiller's Gründung Roms, but against Hiller himself; not only against the literary share This opinion, however, must be accepted with great which Herr Bischoff (of the Kolner-Zeitung and Niederrwho adopts the pseudonyme of "Pame coo Herr Bischoff himself. Hiller is accused of reserve, inasmuch as, further on, the same correspondent, heirsches Musik-Zeitung) had in the Cantata, but against him every conself a not very competent authority. Take the following ceivable artistic sin, while Herr Bischoff is thus dismissed: as an example: "The text is rubbish, although the idea is fine." We must vai be excused from printing any part of this criticism, and are day owing to the endeavours of the Zukunfts party (that which the present will, not nokno they are to be the and the future will not believe to have at the same hour of 6 P.M. Menacknowledge, existed), great reformers of music, the delssohn's overture to Fingal's Cave was as finely played as ve took chief members being Franz Liszt, R. Wagner, Schumann (before his the other instrumental pieces and Madlle. Schreck (the death), and the French composers Berlioz, Gounod, not forgetting contralto) very successful in an air from Bach's Passion Litolff, and the Belgian, Gewaerts," Musik (violin accompaniment by Joachim). The other vocal pieces were a trio from Fidelio, an air from Boieldieu's Fête du Village Voisin (Herr Stockhausen); the hacknied scena from Der Freischutz (Madame Ney-Birde); a tenor air from Euryanthe (Herr Schnorr); Lieder, by Schumann, Hiller, and Schubert (Herr Stockhausen); Venzano's Valse (Madame Ney-Bürde); and the concluding chorus from Samson. There were two overtures, Spontini's Olympic, and a concert-overture by Herr Tausch of Düsseldorf; Beethoven's pianoforte concerto in E flat, played by Herr Tausch, and a couple of violin solos, by Joachim, viz., his own, on Hungarian melodies, and one of Beethoven's Romances (which of the two our correspondent does not state). B f5 Philomousos" speaks only by rote. At any rate, his light is at besta rushlight, for it has not helped him to the knowledge of some very important (" patent"?) facts: among the rest, that M. Hector Berlioz has indignantly protested against his name being associated with the Zukunfts party, and that Mr. Henry Litolff broke his stick at Weimar, (not over the head of Father Liszt, but as a symbol of his rupture with the anarchists). Then, to rank such helpless innocents as formed the Gaul, and Gewaerts, the Walloon, among this formidable tribe of savages! The composer of music to Le médecin malgré lui, and the composer of music to a book on Quentin Durward, illustrating 1. TAT About this concert we subjoin the remarks of "Philomousos," abridged as expedience may have suggested: 66 Joachim's violin solo was beautifully executed : Mozart's Ave verum' could not have been better given, whether by orchestra or chorus. In fact, the weak points throughout the whole festival were owing to the mediocrity of the solo singers. Herr Tausch's concert. overture was a childish affair; the composer, who directed its performance as a conductor, more childish still, and yet he holds the appointment of Stadt Musik-Director in Düsseldorf. Herr Tausch is a pupil of F. Schneider, brother to the man who tortured the people in 1852 with an interminable organ fague at Exeter Hall. The concerto of Beethoven was nicely executed by Herr Tausch, and well interpreted. The even manner in which he gave the rapid passages deserves praise; but as a pianist, he can't play, and never will be able to play, like Miss Arabella Goddard or young Mr. Barnett. "Beethoven's Romanza was divinely executed by Joachim, whose pure style must always be admired. Indeed, it is impossible to overpraise Joachim in this admirable performance, which so affected the audience that many of them were in tears! Madame Jenny NeyBürde, to a certain extent, vindicated her reputation in Weber's Scena. In defence of the "Bearbeitung" (adaptation) and "Verbesserung" (amelioration) of Handel's Samson, which has been commented upon in a hostile spirit, let one of Herr Hiller's advocates in the Kolnische Zeitung speak: "It is by no means the intention of Herr Hiller to bring Samson before the public in its complete and unabridged form, since neither the work nor the audience would benefit thereby. Mosel, in the arrangement through which the oratorio has acquired universal favour, has cut in freely with a very powerful knife, and in performing this operation has evidently gone too deeply into the flesh. But in spite of all that Handel fanatics say about the injustice done to this work, which should have been handed over to the world unmutilated, the adaptation is preferable to the original score. The latter, besides recitatives, contains sixteen airs and one duet more than have been heretofore published. Among these Herr Hiller has selected those which he considered the best suited to give prominence to the chief supporters of the action-Samson and Delila. He has fitted these pieces to a German text, and made necessary additions to the instrumentation, and it is not to be doubted that the work has been thereby enriched." So deep is the feeling of spite evinced by "Philomousos" against Hiller, that he even allows himself to be led into a non sequitur: "Portraits of Hiller are being sold in all the booksellers' shops, as if he were Beethoven returned to the world again-which accounts for the vanity of the ma4.” 1 The worthy Kapellmeister of Cologne may console himself with the lapsus involuntarily committed by his detractor. The artistic stature of Ferdinand Hiller is not diminished one hair's breadth by such inconsiderate attacks. May his shadow be never the less-and "Hiller's Studies" the name by which he is remembered when the trenchant shears of the Parca cut the thread of his existence. He who was the friend of Mendelssohn, and is the friend of Rossini, may laugh at an obscure Philomousos. IT is the proud privilege of the noble and wealthy, who have abundance of leisure and means at their disposal, to promote and encourage the elegant arts of peace-the great civilisers of the community. But the highest and the noblest encouragement is not what depends upon giving expensive commissions, or purchasing at auctions extravagant pieces, choice and rare productions, to be afterwards hid away in a private gallery. It is that which recognises the generous improving influence of art upon human intelligence and feeling, and promoting the application of such influence, by opening the storehouses of art to the world, and welcoming all comers upon the grand neutral territory of intellectual enjoyment, with a friendly greeting. Nobly was this feeling recognised and carried out, but only temporarily, in the formation of the Great Art Treasures Exhibition at Manchester in 1857, when the owners of priceless gems of art, from the Queen downwards, generously contributed from their store to found a spring for common enjoyment. And well and ably, though upon a smaller scale, with a more permanent aim and influence, is the noble President of the Society for the Encouragement of the Fine Arts lending his aid in the same field, by the active support given by him in carrying out the useful objects of that new institution. L The paper read by Mr. Henry Ottley, Honorary Secretary of the Society, on the Italian and Dutch Schools of Painting, was one of the highest interest. Mr. Ottley commenced by observing "that they were assembled together, through the kindness of their president, within the splendid walls of the gallery of that noble patron of art. It suggested reflections as to the character of such collections, the genius of the It had been the fashion with the free-thinking critics of masters represented in them, and their influence upon art. modern times to discourage the old masters, and to insist upon the superior merits of those of the living age. Without attempting to detract from the undoubted merits of art of the age and country, he would suggest that there had been, and were, continuous interests in common between the arts of all periods; and the influence of the past upon the present, as of the present upon the future, might be considered as direct and salutary in its operations. He then went on to show that his position was supported when they came to consider how little they had of old art amongst them, and how little they knew of old art fifty years ago, when these collections were first commenced, and the vast strides which English art had made since their influence was brought to bear upon it. It was essential to the right appreciation of art to consider them in their respective schools, and in their bearing respectively to one another. It was not enough to admire a pretty picture for the mere interest of its effect, or the attraction of colour and treatment which it produced. He then referred to the various schools of Italy, giving a brief summary of their salient points, and ably demonstrating in what they respectively excelled, at the same time directing the attention of his hearers to the works represented on the walls of the gallery. He afterwards passed to the Dutch school, and gave a most comprehensive view of its peculiarities, insisting upon their claims to respectful attention at the hands of all who studied art in a catholic spirit. There was a class of art critics who, nevertheless, had very strong predilections of their own, who could not see anything good beyond the immediate and restrictive circle of their choice. A very popular and voluminous living writer condemned en masse the productions of the Dutch school as coarse, vulgar, and irreligious; and went the length of saying that the best patronage any monarch could confer upon art would be to collect the whole body into one gallery, and then burn them (a laugh). This, however, was only an illustration of the length to which prejudice would carry even the wisest amongst as; but he trusted there was some hope that the writer alluded to might one day change his opinion (hear) upon the matter, as he had not unfrequently done upon others, and that he would take a wider and more comprehensive view hereafter of the purposes of art." The discourse, which was listened to with the greatest attention throughout, gave a tone of more than ordinary carnestness to the proceedings of the evening, and served, by contrast, to enhance the attraction of the musical entertainment which followed. This fellowship of the arts, in |