which music, painting, and sculpture emulate each other in friendly rivalry, is a noble thought, for which the world has to thank Mr. Henry Ottley. That after such communion a parting should take place would be cause for deep regret. We believe, however, that the good seed has been well sown, and that an abundant and full harvest may be anticipated. We understand that Madame Oury's matinée will this year take place, by the permission of Mrs. Jefferys, at that lady's residence, 16 Eaton Place; when the bénéficiaire will be assisted by some of the most eminent artistes at present in London, including Miss Louisa and Miss Susan Pyne, Madlle. Parepa, Mons. Depret, Mons. Lefort, Madlle. Sophie Humber, &c. &c. M. LEOPOLD DE MEYER.-The admirers of this accomplished virtuoso will have an opportunity of hearing him in some of his most recent compositions at the approaching concert of the Royal Society of Female Musicians, and at the always agreeable matinée of Mdme. Anichini, which is to be held (as usual of late years), by permission of Mr. Wolley, at Campden House, Kensington. ANTON RUBINSTEIN. We are happy to be able to inform our readers that the report of this gentleman's death is unfounded. Herr Rubinstein is at Baden, composing an opera for the Vienna Kürnthner Thor. It is to be hoped that this new work may restore the fallen fortunes of that theatre. ST. JOHN THE BAPTIST.-(Extract from a private letter.)—“I suppose you know that the oratorio, St. John the Baptist, by Herr Hager, of Vienna, brought out by Mr. Hullah at St. Martin's Hall, is composed by Herr Von Hasslinger (not Haslinger), a good violin player, but a poor composer, who has got the mania into his noddle, and can't get rid of it. Hager is only an assumed name." HER MAJESTY'S THEATRE. Semiramide was repeated on Saturday, when the theatre was more crowded than even at the first performance. The audience, too, were more enthusiastic. The overture was encored and repeated, an acknowledgment that the execution was far better than on the Tuesday, when it passed with scarcely a hand of applause. Mdlle. Titiens in Semiramide showed a decided improvement on her first performance, and, we have no doubt, will still farther perfect what, in many respects, is already so splendid. Mdme. Alboni's Arsace being faultless, offers no point for reconsideration. She has here (as in other instances), to use the learned diction of a morning contemporary, "achieved the nimbus." Her performance is neither more nor less than incomparable. The Assur of Signor Everardi is excellent, and will ripen into something even better by the aid of experience. Indeed, the whole performance of Rossini's gorgeous work was a manifest advance on the first, and the gratification of the audience was augmented in proportion. In the ballet of Scintilla the delight caused by Mdlle. Pocchini's dancing was clouded by regret that her last performance, should be so near at hand. Mr. E. T. Smith, who had already once renewed her engagement, should have retained Malle. Pocchini to the end of the season at any sacrifice. She is an immense favourite both with subscribers and the public; and has succeeded in reviving the prestige of the ballet. On Monday, an extra night, Don Giovanni was repeated with more than one change in the cast. M. Gassier (his first appearance at Her Majesty's Theatre) played Don Giovanni, and Signor Everardi, Leporello. M. Gassier sings the music admirably; but that is all. Signor Everardi earned golden opinions in Leporello, giving the music with invariable correctness and in the true Mozartean spirit, and acting with vigour and discretion. "Mea anima was thoroughly well sung; better, indeed, than by any one since Lablache. Rarely, has an artist achieved even a moderate success alternately in two such important characters of Don Giovanni and Leporello. Signor Sebastiano Ronconi replaced Signor Mercuriali in Masetto, and not only sang better than his predecessor, but was, in a dramatic before; and the only remark we have to make is, that Mdme. sense, far more to the purpose. The other characters were as Borghi-Mamo sang both the airs of Zerlina as charmingly as on a previous occasion, and without a single ornament or change. Her performance, in short, was irreproachable. On Tuesday Il Trovatore was given, with Scintilla. On Thursday Semiramide was performed for the third time, followed by Scintilla, when Mille. Pocchini made her last appearance. ROYAL ITALIAN OPERA. THAT La Gazza Ladra would be better this season than last was fully anticipated when the prospectus appeared. Madame Penco, no one doubted, would be a more satisfactory Ninetta than Malle. Lotti, and M. Faure, with equal confidence, was expected to surpass Signor Debassini in Fernando. Neither expectation was destined to be baulked. Both Madame Penco and M. Faure were eminently successful; and we may state at once that a more admirable performance of Rossini's opera has not been heard in London for years than that of Saturday, when La Gazza Ladra was represented for the first time. The Ninetta of Madame Penco is perhaps her most elaborately finished impersonation. Except by Madame Grisi, we never saw the part acted with such genuine feeling and intelligence; while Madame Penco's execution of the music, always satisfactory, at times reached the highest excellence. The aria d' intrata, "Di piacer mi balza il cor," was perhaps the least effective part of her performance, judged from a mechanical point of view; but even here the expression was charming and the manner irresistible. Madame Penco had studied the character with the utmost care was apparent in every scene, but no mere labour could have realised so perfect an achievement without instinct and impulse to back it. Indeed, for a first performance we can hardly call to mind anything on the Italian stage more unexceptionable. Madame Penco's voice, being a genuine soprano of great flexibility, is suited to the music; which was shown alike in the finale to the first act and in the judgment scene. In the last scene, where Ninetta is led to execution, Madame Penco surpassed herself, acting with intensity and feeling, and singing the pathetic prayer to perfection. We may add that Madame Penco looked the part thoroughly, and never seemed to forget that she was the rustic village maid. That M. Faure was perhaps more arduously taxed in Fernando Villabella than in either Höel or Alphonso XI. Fortunately his voice is flexible, or with all his talent he could not have surmounted the difficulties presented. The music of Fernando was written for Filippo Galli -"the barytone of his epoch,"_as M. Fétis, years later, denominated Tamburini. If M. Faure has not yet quite attained the requisite ease and fluency, he is at least in a fair way of attaining it. Increased familiarity with the Italian school of vocalisation will free him from certain peculiarities native to his own French manner, irreconcileable with the nice refinement of execution demanded by Rossini's florid music. The terzetto, "O nume benefico," and the unaccompanied quintet in the condemnation scene, were, on Saturday night, his most successful achievements. In "Ah! qual Colpa" and "Ecco cessato il vento" he was too measured, and evidently less at ease. M. Faure's acting throughout was earnest, intelligent, and impressive. Signor Ronconi's Podestà is a more consummate performance than ever, more deeply weighed, more artistically elaborated, and more admirably fused into one great whole. The comic phase of the character is not made so prominent as formerly, and more real interest is created in consequence. Of course the humour of the first scene is preserved, and the Podestà allowed to exhibit his vagaries and drolleries as usual. This was necessary in a dramatic sense. After the condemnation of Ninetta, however, and indeed throughout the judgment scene, a tragic colouring is given, consistent with the dramatic situation, and contrasting in nogisda 11 bus MENDELSSOHNow gainers bu mi je BEETHOVEN AND ME Sinthe very clever letter from "Veteran given in your last number, I see that Mendelssohn is spoken of as an imitator of Beethoven. I consider this an insult to the lamented musician, and to the thousands bowho love him not least of all for his originality I am not a veteran Jesmyself, but Indard assert that in originality at least Mendelssohn is adquite as great as any of his predecessors. Perhaps if I am wrong you Bwill kindly correct me, as I am onlystne odt ni 29greenq boton 120m coloveb tadt noiteluginam to noitoshroq a driw,A MUSICAL STUDENT Musical Student's opinion." We shall For next. ED.]" In giaasezoq east we are entirely Veteran engri taroq us to ool to guiyalq stabne ento sw even pored odiaq THE DOUBLE BASSlob anolumn and To Can you you oblige me with any information on as to the time when the Double Bass was first introduced into the orchestra? il 101 J 1912 1912 Yours obediently. 414 25m2. Wo Madame Laura Baxter and Mr. Tennant Blanginii Quartet, in E flat major, for two violins, viola, and ugnies robnu violoncello. Herr Becker, Herr Ries, R. Blato dined or SIR,-In justice to Messrs. Ewer & Co., the publishers of the English grove, and Signor Piatti ... Rossini. edition of my "Six Songs" reviewed in No. 20, of the Musical World, With the exception of the air by Salieri and Rossini's quartet, of the first time; and if we may judge be I beg to correct an error you have fallen into, in stating that in the all these were given case of several of them the name of the author of the words is not given. the careful attention, with which they were listened to, and the By reference to the songs, you will see that it is given, but at the end of hearty applause accorded by a full audience, the success of the old each; a plan unusual perhaps in England, but common enough in Italian composers with the modern English public may be looked Germany With regard to M. Meyerbeer's setting of H. Heine's «Du schönes upon as a fait accompli. Some time since we took occasion to observe that the directors of these entertainments were earnestly Fischermädchen," (with which you contrast my version of the same) it would be interesting to learn how far the melody produced by that working the rich vein of good music, and it being now estabcomposer was inspired by the words. Charming and original as it is, lished beyond a doubt, that there is a very large section of conboth in melody, harmony, and in general effect, is there not internal cert goers who can and do appreciate classical chamber compoevidence of its having been composed without reference to the text ?ositions, we trust that still further opportunities may be afforded That it was originally written to other words unless it be that it was for hearing works which, in some instances, from their antiquity, produced in the composer's youth, a time when absolute melody flows and in others from being known only to curious dilettanti, bear more naturally than in maturity, when one is apt to rely on the text for the stamp and possess all the attraction of novelty. It would far lao son oltre 155] I Bogub Das Bedaliotes-Vry exceed the limits of our space were we to enter upon a detailed act of great pleasure, but also one of duty, to both of you gentlemen, criticism of each of the thirteen pieces, (too many, by the way, an upon whom must have devolved so much labour and anxiety, to offer embarras de richesses), much less to introduce any remarks from you my most hearty and sincere congratulations on the successful issue the analytical programme which embodies information of an in- of this day's, meeting. Whatever may be the opinions entertained in structive and amusing character. Suffice it then that Messrs. some quarters of the system of notation under which your pupils are Becker, Bies, R. Blagrove, Pague, Schroeder, and Piatti, instructed, I care not here. angalude to that the result of this day's fully sustained their high reputation as instrumentalists that celebration is, however, most to you, I cheerfully attest; in this country I Miss Arabella Goddard was enthusiastically recalled after her admirable performance of Scarlatti's Harpsichord Lessons; that Malle. Parepa and Madame Laura Baxter were encored in their first duet Messrs. Tennant and Santley used their best exertions in the pieces allotted them, the latter gentleman distinguishing himself highly in the animated air of Jomelli. Herr Ganz officiated as Conductor on Next Monday will be devoted to various masters. Mdlle. Jenny Meyer, Mr. Sims Reeves, Mr. Sainton, Herr Lubeck, and a new basso, Herr Hermanns, are engaged. We are glad to observe that there is to be another quartet from Dussek's Op. 61. - 191 THE CRYSTAL PALACE. The annual meeting of the children of the charity schools of the metropolis, which has so long been annually held in St. Paul's Cathedral, will this year be discontinued. Fortunately the disappointment which would have been felt by thousands of persons at demusical that it must result in increasing benefit to Sirs, most faithfully yours, ROBERT BOWLERS W 240 (General Manager, Crystal Palace Company). bilt to oniq: $ Messrs, JOHN SARLL & W. S. YOUNG (Conductors of the Tonic Sol-fa Festival).ad alt groms hondor Such testimony from one so well qualified to give it must have been flattering to the clever conductors and teachers who labour so zealously in their tasks. 1107, of sluit oft ni eroiblos Forsidad en ooitnilvaT sergi?; size Cingilonzo Ils grow „telboq 918 9 bm Provincial. „dozgo odt de rootroq tuurquian Jlgja zaburtu no „pyd horsJOY FM 99iUqs to quote s bins betoons pu 1974 RICHMOND, SURREY (From a Correspondent)-The members of the Richmond Musical Society gave t their last Concert for the Season on Monday, May 21st, when the room the cessation of these time-honoured celebrations will be removed by their friends. The concert was the crowded by making the Crystal Palace available for the occasion, for also T given The the members hbscribers and movements from Mozart's Symin C [which of the two ?], Weber's overture to Preciosa, and a composed for the Society by the conductor. Dr. the solos The vocal pieces ng were very good. Mr. Costa's song from The Dream, and a song with chorus, composed by Mr. W Abbott, were both given in an efficient style by a gentleman. The following songs were sung by three ladies Voi clie sapete," "Dearest Companions, and "Sweet Bride of Sleep," with clarionet obligato. This last-named gained the only encore, the clarionet part being played by the composer Dr. Sellé. The following gentlemen of the musical profession tendered their valuable assistance: Mr. Schadlehn, Mr. W. Abbott, Mr. Callcott, and Mr. Etherington. London he first time, and we for HERR BECKER AT MANCHESTER.-Decidedly the great treat of the evening would found of Becker, who has this season visited who cannot fail to make an impression upon all who love music truly, whether learned or unlearned in the art divine. The manner of Herr Becker has more of the gentleman in its character than the eccentric artist; his bearing is particularly graceful, free from angularities, and giving the impression of spontaneity rather than that careful and earnest study which must have led to such a result. He dashes off some of the most noted passages in the Kreutzer Sonata for violin and pianoforte, and Mendelssohn's Concerto, with a perfection of manipulation that develops in many instances, quite a new reading you feel that a master hand has possession of the great master's composition, and the value also of every note and point throughout its wondrous intricacy. Not less effective is the andante playing of Herr Becker, so rich and round in tone, so full of that tremulous delicacy which marks true pathos. Rarely have we been more gratified with's playing need scarcely for his pianoforte companion in the duchy, Wanchester Examiner and complete was that particular Times, May 15. TONIC SOL-FA.The following letter was addressed by the General Manager of the Crystal Palace Company to the con- lo de anoti mulle signor for ton of god I ductors of the recent festival given by the Tonic Sol-Fa Association at Sydenham: 121001 94 am ng dalma'l mobom od fiz emencygon wildl 96. The Same to the Same. Milan, January 12, 1771. The Philharmonic Academy of Verona has admitted our dear son among its members, and the Cancelliere dell'Academie is busy preparing the diploma to send it to us. God be thanked! the opera is so attractive that the theatre is crammed full every day. P.S. from Wolfgang. It is long since I wrote, I have been so busy. Now that I have more time I shall attend better to my duty. The opera, God be thanked, pleases, for the theatre is quite full every night, which astonishes every one, as every one says that in Milan no first opera over drew such a crowd. We are well, and I hope at Easter to be able to tell everything in detail to you and our good mother. A propos— yesterday the copyist came to see us, and to tell us that the court of Lisbon had asked for a copy of the opera. Keep yourself in health, my lady sister. I have the honour to be and eternally to remain, 97. The Same to the Same. Venice, February 20, 1771.' We arrived here the Monday before Shrove Tuesday. We go every night to the opera and to the other places of public recreation. The former impresario, Crosa, miserably drest, crawls about the streets of Milan a beggar. God thus punishes the deceitful. I have yet to tell you, about our stay at Milan, the following fact:we heard a thing which will seem to you incredible, and which I thought I never could have heard.-N. B. in Italy. We heard two poor people, a man and a woman, singing together in the streets, and singing entirely in fifths, without missing a single note. This is what I never heard in Germany. From a distance I thought at first that two persons were singing separately. As we drew near we found that it was a duo in pure fifths. I cannot sufficiently lay stress on the politeness of M. Wider, the merchant to whom I have been recommended, and on that of all his family. It is impossible to give them too much praise. I have learnt a little to read the men of this world; but I have seen few, very few, so obliging as these,-frank, kindly, and open, at the same time that they are polite, well mannered, and free from pride. They have invited us to dinner every day that we have no other engagement. We shall soon have had enough of our journeys in gondolas. To-morrow we dine at Catarina Cornero's, Sunday at the Patriarch's, Monday at Dolfino's, next week, almost every day, with other nobili. P.S. from Wolfgang.-I am still alive, God be praised, and in good health. Do you know what it is to receive the attacca? In order to become a true Venetian, you must allow your hinder part to be brought violently in contact with the ground. It was decided that I should be initiated. Seven women laid hold of me, and they succeeded in bringing me-how shall I say?-aground. 98. The Same to the Same. Venice, March 1, 1771. We are constantly invited out, now at one place now at another; there is always some lordly gondola before our door ready to carry us to the Grand Canal. On our return we shall have to make a stay for a few days at Vicenza, the bishop of which, who belongs to the Cornero family, will not allow us to pass through the city on any other condition;' the same with Verona. I am vexed that we shall only have melancholy fast days during our whole journey. We may, perhaps, reach Reichenhall on Good Friday, where we shall hear the usual opera of the Passion. I will relate to you all we have seen; the arsenal, the churches, the hospitals; there are a thousand things to admire here. We shall not bring the opera back with us. It is still in the hands of the copyist, who, like all the copyists of Italy, will not let the original of an opera go out of his hands as long as he can make a profit of the copies, in order that he alone may have the benefit of it. When we left Milan the copyist had made five complete copies, one for the impresa (management), two for Vienna, one for the Duchess of Parma, and the other for the court of Lisbon, not to speak of the single pieces' of which he had many copies to make. He has not executed all his orders yet. Tuesday there is a grand concert; Sunday we go to the Imperial ambassador, Monday to Maffetti's, -99.' The Same to the Same. Venice, March 6, 1771. We are so plagued and dragged at in every direction, that I cannot say who, of all that ask us, will succeed in getting us. It is a pity we could not have stayed longer here, for we have made a wide acquaintance with all the nobility, and every where, in the drawing rooms, at the dinner table, we are so overwhelmed with honours, that not only are we fetched and brought back in gondolas by the secretary of each house, but the master of the house himself accompanies us home, and they are among the first people in Venice, the Cornero's, Grimani's, Mocenigo's, Dolfing, Valiers, &c. frightful rains. Basta! we must take things as they come. All these I am afraid we shall meet with very bad roads, for there have been things do not interrupt my repose, so long as we are in health. 100 The Same to the Same, Vicenza, March 14th, 1771. We had made everybody believe that we should start a day earlier than we meant, in order to have a day to ourselves, and to have time to pack up. But the trick was nosed out, and we had to dine once more with Cotari, and with Cornero, who presented us with a handsome snuff box, and some fine lace cuffs. We saw all that we could contrive to visit in Padua in one day, for there we could get no rest either, and Wolfgang had to play in two places. He also found some work there, for he is to compose an oratorio for Padua. We paid a visit to the Maestro Padre Valotti* al Santo, and then Ferrandinit, where Wolfgang had to perform. Lastly he played to perfection on the organ of the incomparable church of San Giustiniano. To-morrow we stay over another day-not without cause, 101. The Same to the Same. Verona, March 18th, 1771. I am informed from Vienna that a document will reach me at Salzburg, which will astonish you, and confer immortal honour on our son.f 102. The Same to the Same. Innspruck, March 25th, 1771. We are near our journey's end. Thursday, I hope to be in the midst of you. 103. The Same to the Same. Verona, August 18th, 1771.§ We stayed an entire day at Ala, with the two Piccinis, that we might go to church in our travelling attire, which it was easier to do than at Verona. We have plenty of entertainment in the way of music. We alighted here at Luggiatti's. P.S. from Wolfgang.-I have only slept half an hour, for I do not like sleeping after meals. You may hope, believe, think, fancy, figure to yourself, be satisfied, and live in confidence, that we are in good health. As for me I can give you positive intelligence to that effect, Ask M. de Heffner if he has not seen Anna Mindl. 104. The Same to the Same. Milan, August 24, 1771. We have been here since the 21st. The poem has not yet been sent from Vienna. The archduke arrives on the 15th of October, and the marriage will take place on the same day. P.S. from Wolfgang.-We were overcome with heat on the road; the dust followed us up most pertinaciously and impertinently to such a degree, that we should certainly have been stifled and have died, had we not had the good sense to do nothing of the kind. Keep your promise * A cordelier monk, a chapel master, and the greatest organist of his time. Born at Verceil, 1697, died at Padua, 1780. † Antonio Ferrandini, born at Naples, 1718, author of a Stabat Mater, considered a masterpiece; died in poverty, 1779. Count Fiomiani wrote to him from Milan, in the name of the Empress Maria Teresa, to confide to Wolfgang the composition of a grand serenade for the stage, to celebrate the marriage of Archduke Ferdinand. It was called Ascanio in Alba. The opera composed on the same occasion was entrusted to the eldest of the chapel masters, the celebrated Hasse. § Mozart returned in August to Milan, with his father, to compose his serenade, and work at an opera at the same time. to me; you know very well which I mean. O thou all-beloved I beseech thee; I shall most certainly be beholden to thee. At this moment I am suffocating; I open my waistcoat. Addio. Overhead we have a violinist; there is one below us; in the next apartment there is a singing-master giving lessons; opposite to us there is a colonel. This is an amusing state of things when you are composing, it gives one ideas. 105. The Same to the Same. Milan, August 31, 1771. The poem has come at last. As yet Wolfgang has done nothing but the overture, to wit, a tolerably long allegro, an andante which is to be danced to, but only by a few persons. Then instead of the concluding allegro he has written a sort of contredanse and chorus, which is to be sung and danced to. We shall have a pretty good deal to do this month. We are going to see M Hasse, who has just arrived. We went to see the Princess, the betrothed of the Archduke. She was extremely gracious; not only did she chat a long time with us, but, moreover, gave us the most charming reception, for as soon as she caught sight of us, she advanced quickly to meet us, drew off her glove and presented her hand, and began to address us before we could say a word to her. P.S. from Wolfgang.—I have already in your honour eat lots of pears, peaches, and melons. My sole pleasure is talking in signs with the dumb people, for I can do it to perfection. Let me recommend to you my prayer for the other, so long as there is another, you understand.* 106. I received your few lines; it was a most econòmical idea to write only a little on the first page and scarcely anything on the second; for so many thousands of letters might add such weight to the epistle, that it would require six horses to convey it to Milan. Heavens what an amount of postage. Blank sheets are always less costly to be conveyed than those which are covered with writing. Our heads are quite full. We received the poem very late, and even then it still remained some days in the hands of the poet, that he might make all sorts of changes. I hope it will have a good success. But Wolfgang has a heap of things to write, for he is also obliged to compose the music for the ballet which connects the two acts, or the two parts of the serenade. I did not think it at all extraordinary that the Archduke Maximilian should have become a canon of the Cathedral. I everywhere, and on all occasions have said it, since my return from Italy to Salzburg, that it would happen. We shall see the rest: patience. I am sorry I cannot write all I have to say. Salzburg is not the sole motive for this first step. 107. The Same to the Same. Milan, September 13, 1771. Wolfgang will, I hope, with God's help, have finished the serenade in twelve days; it is properly speaking an azione teatrale in two parts. The recitatives, with and without accompaniments, are all finished, and the choruses also, five of which are sung only, and three others sung and danced to at the same time. We attended to-day the rehearsal of the dance, and we admired the zeal of the two ballet-masters, Pick and Fabier. The first tableau represents Venus emerging from the clouds, accompanied by Genii and Graces. The andante of the symphony is danced to by eleven personages, eight Graces and three Goddesses. The last allegro of the symphony, is a chorus of thirty-two choristers, eight soprani, eight contralti, eight tenors, and eight basses, and at the same time danced to by sixteen personages, eight women, and eight men. There is another chorus of shepherds and shepherdesses; and besides choruses of shepherds alone, that is tenors and basses; next there are, choruses of little shepherdesses, that is of soprani and contralti. In the last scene they are all together, Geni, Grazi, Pastori, Pastorelle, choristers, dancers of both sexes, and all dance together to the final chorus. In the above enumeration are not included the solo dancers, namely M. Pick, Mdme. Binetti, M. Fabier, and Mamsell Blache. The small solos which intervene between the choruses, sometimes between two soprani, sometimes between alti and soprani &c., are intermingled with solos by dancers of both sexes. The personages of the cantata are: La Venere, Signora Falchini, A young lady, a favourite with the young composer, and who was shortly about to be married. seconda donna; Ascanio, Signor Manzuoli, primo uomo; Silvia, Signora Girelli, prima donna; Aceste Sacerdote, Signor Tibaldi, tenore; Fauno Pastore, Signor Solzi, secondo uomo. N.B.-We have already in hand our Venice affair for 1773. (Here follows in Italian the agreement for an opera to be performed in Venice at the Carnival of 1778, and requiring the presence of young Mozart in that city from the 30th of November, 1772. The terms aro seventy sequins.) P.S. from Wolfgang.-I shall write only for the sake of writing. I am not very well. I have a cold in my head and chest. Tell Malle. de Moelk, I am greatly rejoiced at the idea of returning to Salzburg, if it were only to receive for my minuets such a presont as I received once after a certain concert, she will know well enough what the present I mean was. M To (To be continued.) Advertisements. USICAL THEORY.-Clear Instructions in all branches, by Mr. E. Eves, 14 Royley Street, Old Street, E.C. O MUSIC SELLERS. The Advertiser wishes to place his Son, who has a good knowledge of the Trade, in a first-class Music Warehouse, either in or out-doors.-Address, stating salary, to Z. A., at the Office of this Paper. "THE ARION" (Eight-Part-Choir).The Members of this Society will meet until further notice every Thursday evening, at 8 o'clock, at 13 Berners Street, Oxford Street. Conductor, Mr. ALFRED GILBERT, F. F. REILLY, Hon. Sec. Persons desirous of joining the Choir are requested to address the Secretary. MENDELSSOHN'S "HAPPY and BLEST ARE THEY WHO HAVE ENDURED," Chorus in the Oratorio ST. PAUL, arranged from the full score for two performers on the Organ, by J. T. Stone. Price 38. Mendelssohn died on Nov. 4, 1847. This sublime Chorus was performed at a "Todenfeir," which took place in the Church of St. Paul, at Leipzig, three days after the death of the immortal Composer. D'ALMAINE and Co., 104 New Bond Street, W. NEW SONGS by by Mr. Santley at the Monday Popular Concerts): J. W. DAVISON, "Rough wind "Swifter far than Summer's flight," (sung by Miss Palmer at the Monday Popular Concerts); "False friend, wilt thou smile or weep," Beatrice's song in the Cenci (sung by Madame Sainton-Dolby, at the Monday Popular Concerts, St. James's Hall); are published by Cramer, Beale, and Co., 201 Regent Street. The above Songs form Nos. 1, 2, and 3 of Vocal Illustrations of Shelley. "Mr. Santley was encored in one of the thoroughly picturesque and poetical settings of Shelley, by Mr. J. W. Davison, mentioned a week or two since. His song, Rough wind that moanest loud,' is a thoroughly good song."-Athenæum. Madame Sainton-Dolby's greatest efforts were called forth by Mendelssohn's Night' song, and Mr. J. W. Davison's False friend, wilt thou smile or weep' (from Shelley's Cenci'), to both of which she did the amplest justice. The latter work is one of the most poetical and beautiful of the Vocal Illustrations of Shelley,' composed by Mr. Davison many years ago, and which, though rarely heard, possess far more sterling merit than nine-tenths of the most admired songs of the day. A more intellectual treatment of the words could not well be imagined. Mr. Davison has completely caught the spirit of the poetry, and heightened its beauty by the potent charms which belong only to the sister art. False friend, wilt thou smile or weep,' sung to perfection by Madame Sainton-Dolby, was enthusiastically applauded." Morning Post, April 26, 1860. Cramer, Beale, and Chappell, 201 Regent Street. HE MUTUAL LIFE ASSURANCE SOCIETY, ANNUAL REPORT, Cash Account, Balance Sheet, &c., are now ready, and may be had on written or personal application.-CHARLES INGALL, Actuary. CANTERBURY HALL CONCERTS. Westminster Faust-Faust, Mr. HENRY HERBERT; Mephistopheles, Mr. C. BERNARD; Siobel, Mrs. ANDERSON; Marguerite, Miss RUSSEL. Conductor, Herr JONGHMANS-and Selec tions from Dinorah, Trovatore, and Macbeth. Several interesting Pictures have been added to the Fine Arts Gallery. The suite of Halls have been re-decorated and beautified, and constitute one of the most unique and brilliant sights of the metropolis. TVOLUNTEER RAUMEN O VOLUNTEER RIFLE CORPS.-BOOSEY & SONS' Drums, and Fifes, have been used and approved of by almost every regiment in the Service, at home and abroad. Those regiments that contemplate the formation of a Band, are invited to apply to the firm, who will be happy to recommend them com. petent Bandmasters, and render any further assistance that may be required. Boosey & Sons, Holles Street. JULLIEN'S LAST WALTZ.-BOOSEY & SONS have published by authority of Madame Jullien, the last Waltz composed by the late M. Jullien, and which will be found to exceed in beauty any of his most celebrated Compósitions. BOOSEY & SONS, Holles Street. |