The Most Worshipful the Grand Master of Ireland,
Hti Grace the DUKE of LEINSTER,
And several other Distinguished Freemasons;
Hit Excellency the Lord Lieutenant of Ireland, the
The Right Worshipful the Mayor of Manchester. IVIK MACKIE, Esq.

His Worship the Mayor of Salford, W. HARVEY, Esq.
SIR FREDERICK CORP. OUSELEY, Bart., Director of Music at the
Unireraity of Oxford.

qfthe Nobility, Gentry, Clergy, and Distinguished Families of the Empire.



_ in IB4R. and developed at THE ROYAL COLLEGE OF MUSIC, BRIDGE STREET, MANCHESTER, established by him expressly u a Great National Institution to facilitate the Encouragement and Promotion of NATIVE MUSICAL TALENT, and the GENERAL ADVANCEMENT OF MUSIC AMONG THE RISING GENERATION, upon his new and effective system, also as a Normal School, for the training of masters to conduct Conshvatoirbs) Of Music to he established throughout the United Kingdom, fur Littlr Children, the whole comprising an entirely new scheme of NATIONAL EDUCATION, by blend'ng music with general instruction, so that the study of music shall become a branch of education in the humblest of schools of this country. To illustrate and to rouse an Interest in every town and city for these institutions, Dr Mark travels with a number of Ms pupils occasionally through the country—giving lectures, and Introduclng his highly approved and pleasing Musical Entertainment, entitled DR. MARK AND HIS LITTLE MEN, who number upwards of Thirty Instrumentalists, and a most Efficient Chorus, the whole forming a most unique and complete Juvenile Orchestra, composed of LITTLE ENGLISH, IRISH. SCOTCH AND WELCH BOYS. FROM FIVE TO SIXTEEN YEARS OF AGE, who play Operatic Selections, Solos, Marches, Quadrilles, Galops, &c, and sing Songs and Choruses in a most effective manner, and to whom Dr. Mark gives a gratuitous General and Musical Education.

Principal of the Royal College of Music; Director, Composer, and )
Conductor; Lecturer to both Private and Public, Theoretical > Dr. Mark.

and Practical Instrumental and Vocal Classes )

Master of the General Educational Department;) \r T> ■ Writing, Reading Arithmetic, Grammar, Dictation, f wr' *°TELL History, Geography, Practical Geometry, and Book- f Asj,8tTMat Tochers.


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Organ f , ,

Pianoforte , ... ,

Violin ... ..

Violoncello, Double Bass, and Viola. [ J}°"T VDoNOTAII<

Flute, Piccolo, Oboe, and Clarionet'. ... Sig. Cortesi.

Comet and other Brass Instruments Mr. H. Russell.

Concertina (German and English) ... Mr. Elder.

Vocal Classes f Messrs Powell and

I Elder.

Dr. MARK has also made provision for the Orphans of the Musical Profession possessing musical talent, who will tind the above .institution a happy home, and receive a most effective general and musical education, board, and clothing, free of all expense.

Little Boys, from fire to nine years of age, apprenticed for three, fire, or seven years by paying a moderate entrance fee to cover the expenses of instrument and books.

Twelve appointments ready for Masters. For Prospectuses, apply direct to the Royal College of Music, Bridge , Street, Manchester.

Dr. MARK is also open to Engagements with his little Men.

Dr. MARK begs to invite the Parents and Friends, and all those Interested In his Enterprise and in the Education of the Youths of this ^country, to visit his establishment. Visiting hours:—From Niue to „Eleven, a.m., and Two and Four, p.m. Saturdays and Sundays excepted.

CANTERBURY HALL CONCERTS.—Westminster Road—Lessee, Mr. C. MORTON.—Every Evening—C. H. Gounod's Opera, Faust—Faust, Mr. Henry Herbert; Mephtstophelcs, Mr. C. Bernard; Slobel, Mrs. Anderson ; Marguerite, Miss Russbl. Conductor, Hcrr Jonghuans—and Selections from Dinorah, Trovatore, and Macbeth. Several interesting Pictures hare 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.

OUBLE BASSES for sale, six fine-toned Instruments

by good Makers j a VIOLONCELLO by Banks, in Case; TENOKS by Foster and Fendt; VIOLINS by Straduarlus, Cuarnerius, Stciner &c.; also a self-acting ORGAN, in a Carved Mahogany Case, plays 74 tunes. For Particulars apply to J. Moore, Buxton Road, Hudderslield.


JL 39 King Street, Cheapside, E.C. — A.D. 1834. — The TWENTY-SIXTH ANNUAL REPORT, Cash Account, Balance-Sheet, Ac, are now ready, and may be bad on written or personal application.—Charles Ikoau, Actuary.

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"rpHE BRIDE'S FAREWELL," by Edouard Roeckeix,

-1- Is now published for the Pianoforte, price 2s. by Duncan DavisoD a Co. Wl Regent Street, W.

THE SULIOTE WAR SONG," by Brinley Richards, sung with distinguished success by Mr. Santley, is published, price Is. by Duncan Davison A Co. 244 Regent Street, W.


JL Schlokssbr, sung with Immense appUuse by Mad. Lemmens-shbimingtos, Is published, price 2s. r>d. by Duncan Davison & Co. 244 Regent Street, W.


_I_ dedicated to. and sung by Mad. Sainton-dolby, a' St. James's Hall. Composed by S. Marshall. Price 2s. London: S. Shepherd, 98 & 106 Newgate Street, aid all Music Sellers.

To be published next week, price 4«.

EAMSGATE SANDS QUADRILLE.—A Comic and Characteristic Set on Popular Airs. By Burckhardt. Illustrated In colours by Brandard.

No. 1. The Excursion Boat.

No. 2. The Promenade.

No. 3. The Basaar.

No. 4. The Ride.

No. 5. Ramsgate Sands.

Boosey & Sons, Hollee 8trect.



Jjll COUNTRY BANDS—BOOSEY and SONS beg to state that they bi« made arrangements to supply BRASS and REED INSTRUMENTS, of the very brit description, at the lowest scale of prices. Band-Masters and others are recommend*! to forward a list of Instruments required, for which they will receive an estiaiteof cost by return of post.

Boosey and Sons, Holies Street


Sunsr by Mr. Sins* BeeTM.



Miingr by Mail tame Sainton-MoHsy.

JANET'S CHOICE, by Claribil ..... —



Song' by Mi... S»i»iepsa.

JANET'S BRIDAL, by Claribbi. - M-M

DREAMLAND, by Cearibrl *•

Sang: by Mi*. Poole.


I REMEMBER IT, by Claribel *•

Straff by Madame Weiss.

THE BIRD OF SONG, by Hatton „ — - »•

Sung- by Mr. Tbomna, Mr. Weiit, and Mr. inn.

THE OOLDBEATER. bv Randrgger „....-.-..


Sung- by the Chriaty's Minstrels.

COME. BACK, ANNIE, by J. L. Hattosi _ *■W'

BOOSEY & SONS, Holies Street.


{From our own Correspondent.')

June 12, 1860.

It is always interesting to recur to the early works of a composer who has succeeded in taking the rank of a classic, and to note how those qualities which chiefly distinguish the after productions with which his renown is associated, may sometimes be altogether absent, or exist only in a very faint germ. To students sudh opportunities are especially valuable, and teach the golden lesson how even genius cannot dispense with patient perseverance, and might never assert itself but for tenacity under disappointment. The management of the Theatre Lyrique has, therefore, done a useful and a graceful thing in bringing out Herold's first operatic work, Let Rosieres, an opera comique in three acts, produced at the Salle Feydeau in 1817. On its first production, this work achieved a decided success, and at once informed the world that a composer of the highest promise was born to France. It kept the stage until 1826, when Marie, a much riper and more masterly work, threw it into the shade, whence it has never been rescued until now. Les Rosieres, though much inferior to the composer's subsequent productions, exhibits in a considerable measure the fundamental characteristics of Hdrold's style. It lacks the rich and brilliant instrumentation, and the startling modulations for which he was afterwards distinguished; but the grace and facility of his melodic inspirations, the elegance, piquancy, and neatness of his style are already clearly discernible. The libretto of this work, although old-fashioned, is still amusing; and the plot has a merit also somewhat out of date—clearness and simplicity. The principal female part, Florette, is played by Mile. Girard, whose easy, correct, and brilliant execution, keen intelligence and agreeable organ, allied to graceful and spirited acting, place her among the first lyrical artists of the French stage. The other prominent characters are filled by Mile. Faivre, and MM. Fromant, Ricquier Delauney, and Gabriel. A little one-act opera, entitled Les Valets de Oascoigne, has been produced for the first time at this establishment with sufficient success. The composer is M. Dufresne. Mile. Faivre, M. Girardot, M. "Wartel, and M. Potel, are engaged in it.

M. Henry Wuille, the well-known clarionetist, one of the many distinguished artists whom poor Jullicn introduced to fortune and to fame, has made his debut in Paris at the concerts Musard, and has won from the public as well as from the critics, the amplest acknowledgment of his uncommon talents.

In the theatrical world the advent of summer, if I may be allowed the expression, when the paletot is as yet an indispensable garment, is producing its usual desolating effects. Several houses have already closed their portals for the season, and others are threatening to follow their example. The Odeon made its last bow the other day, with the Testament de Cesar Girandot, and the BoufFes Parisiens are strolling in the provinces. The Italian company, which had settled itself in the Salle Ventadour, hanging to the tragic skirts of Mad. Ristori, has likewise taken flight. Just before the departure of Alexandre Dumas the elder, for his periplous of the Mediterranean, it was rumoured that he had written a piece for the Theatre Francais, but that the reading of it had been suddenly interrupted through some dispute about the usual premium. It was said that the question was brought up on purpose to induce Dumas pcre, reckoning on his known irritability of temper, to withdraw the piece of his own accord; whether this was the intention or not, the haughty dramaturgist without deigning to read his work to the end, and thus throw his pearls to swine, ill-mannered enough to cavil over their price, packed up his manuscript, and walked off to the manager of the Vaudeville, to whom he transferred the privilege of producing the new work, with the magnificent stipulation that no premium should be demanded for it, thus setting a glorious example to the grovelling council of the Th6atre Francais, and showing that he at least could set the interests of art above paltry considerations of finance. This piece has just been produced under the title of FEnvers dune Conspiration, and the public may now judge whether or no it was right to haggle over the price of such a work. The subject is supposed to be historical, that is to say, Charles the Second figures in it, and Catherine of Braganza. Every one knows,

however, with what freedom the elder Dumas is in the habit of treating the muse of history. He acts towards her certainly as a student, but as a student of the Quartier Latin. He strips her of her classic toga, takes her to a masquerade warehouse, decks her in the most captivating carnival costume, and familiarly clapping his arm round her waist, hurries her through a succession of exciting adventures. The conspiracy to which the title alludes, is that which effected the restoration of Charles; and the "Envers," or underside, is represented by a certain Lady Hamilton, and a Scotch adventurer, one Evan Macdonald, who having come to London to join the commonwealth party, is entangled by his love of Lady Hamilton into the royalist plot, to which he innocently renders essential service. This part, in the hands of Dupuis—formerly of the Gymnase—becomes broadly comic; and if M. Dumas' ambition soared no higher than this, and disdained that attention to literary form which he once condescended to cultivate, he can hardly find fault with the judgment of the Theatre Francais.

An extravagant absurdity called Les trois Fils de Cadet Roussel has just appeared at the Palais Royal, and not without danger attained success. It is incredible how many times this mythical personage of the first French Revolution has been dramatically served up, yet is his vitality apparently not exhausted. A new drama at the Gait6— UnePecheresse, works up afresh a subject worn somewhat threadbare, — a husband's jealousy of his wife's past existence.

The indisposition of Mad. Ferraris has not yet ceased, and her place is filled by Mile. Villiers. When is this lady to appear at Her Majesty's Theatre? The first performance of Semiramis is announced for the 29th of June, or at the latest the 2nd of July. The singer Wicart has been re-engaged at the Opera, and wdl make his re-appearance as Arnold in William Tell; he is then to play Raoul in the Huguenots. The engagement of Mile. Tedesco is signed and sealed; she is to place herself at the disposal of M. Alfonse Royer on the 1st of September, when the rehearsals of Tunnhiitiser will commence in view of its production at the end of January, 1861.

At the Op£ra Comique, the bills still alternate with L'Etoile du Nord, Le Roman d'Elcire and Rita, and Chateau Trompette with VHabit de Mylord. A new opera, by M. Paul Dupuch, Gertrude, is in rehearsal, and will take its turn after Le Petit Chaperon Rouge, which is very soon to appear. The following artists will be engaged in this once most popular of Boieldieu's works—Rodolphe, M. Crosti; Roger, M. Warot; the Bailli, Lemaire; the Hermit, Barrielle; Rose d'Amour, Mile. Mariuion; Annette, Belia.

Before closing for the season the Theatre Lyrique will produce a new operetta, the title of which has been changed since the first announcement from Le Muriage aux Epees to Maitre Palma. The music is by Mile. Rivay, Tier first essay, and the book by Mad. Furpille and Gille. It is also exp'ected that La Madone, by Lacoinbe will shortly be forthcoming. The manager has just engaged Mad. Wekerlin Damoreau for next season.

The tenor Fraschini has just signed an engagement with the manager of the Orienta, at Madrid, for the ensuing season; and it is reported that Mad. Borghi-Mamo has contracted to appear at the Scala, in Milan, during the carnival season next year.

Roger has just returned from his provincial tour. He appeared last at Bordeaux, where he brought the season to a brilliant close. He is to proceed to Baden in August, where he is engaged, together with Mad. Miolan-Carvalho, to appear in a new opera, by Gounod.

M. Mires, one of the millionaires who have sprung up under the Imperial regime, and who is the proprietor of two daily papers, Le Pays and Le Constitutionnel, has just married his daughter to the Prince de Polignac. There is something quite bewildering in this alliance, from the welding of principles and associations so widely dissevered and apparently so incompatible. The ceremony took place in the church of the Madeleine, and was attended by a crowd of distinguished people, whether by rank, intrinsic eminence or fortune. Finance, politics, officialism, art, literature, and even pride of birth were there amply and showily represented. The nuptial benediction was pronounced by Monseigneur the Bishop of Marseilles, and the sacred music executed on the occasion was composed by Prince Edmund of Polignac, the youngest of the four brothers composing this illustrious family. The executants -were selected from the orchestra of the French opera and the choir of the Madeleine, and were under the direction of the chapel master, M. Dietsch. The organist of the parish, M. Saint Saens, presided at the grand organ.



Madame Clara Novello made her theatrical dibut at Padua, and chose the character of Semiramide for the occasion. Her success was complete, and this even increased as the experience she gained in her after engagements gave her greater familiarity with the special requirements of the stage. She appeared, in course of time, at Rome, Bologna, Fermo, Milan, and other places. Triumph walked in her footsteps, and the rich Italian language was almost exhausted in epithets of admiration, and taxed to the utmost of its sweetness to furnish poems in her praise. The Musical Antiquarian Society, established in London for the resuscitation of the works of early English composers, was at this time actively carrying on its operations, and, as a means to its end, collecting a library of works that might illustrate its purpose. It may or may not prove Mad. Novello's Italian popularity, to state, that her father contributed towards the accumulations of this institution a very extensive series of the laudatory verses addressed to his daughter, enjoining that, in case of the dissolution of the society, the entire collection should be transferred to the library of the British Museum, where the poems were accordingly deposited when the Musical Antiquarian was broken up, and where they will for all time be open to the examination of whomsoever may be interested in them.

The public performance in Paris of Rossini's Stabat Mater, some ten years or more after the production of his last opera, gave a new impetus to the universal esteem of this composer, and added a fresh laurel to his evergreen crown. The work was immediately transplanted to London, and reproduced in every musical city in Europe. It was first heard in Italy, at a performance in Bologna, where Rossini then resided, who was consulted upon every arrangement for the occasion. Donizetti was the conductor, than whom no one then living could more completely identify himself with the true spirit of tho composer; and, by Rossini's expressed stipulation, Mad. Novello was preferred above all the singers in Italy to sustain the soprano solo; and the grand vocal effects of the famous " Innummatus" were thus first made known to tbe countrymen of the composer through the medium of her beautiful voice. When the Stabat was given in Florence a year afterwards, the same lady again, by the composer's desire, was engaged to fill tho same part in the performance.

In Italy all theatrical engagements are effected by means of correspondenti,—agents whose entire occupation is to negotiate tho arrangements between the impressario and the composers, the singers, the players, and every other functionary of the operatic establishment, which holds so important a place in public consideration and exacts so large a share of government attention, that it may almost be regarded as one of the chief political institutions of the country. Through some j mistake of the correspondent!—mistakes will happen, even in the transactions of the most trusted officials—Mad. Novello was engaged for the carnival season of 1842, at both Rome and Genoa, and the director of each theatre demanded the fulfilment of the scrittura. Universal as we may esteem the talent of the lady, the person of the prima donna was certainly not ubiquitous, and the possibility of her completing tbe two discrepant contracts was consequently non-existent. The Roman and Genoese manager had each the law in his favour—alas 1 that jurisprudence should bo so imprudent as to see a parity of right on each side of a dispute — but tho impressario of the Papal States had more than the law, in having possession, which constitutes the nine points that supersede all the others. In the autumn season of 1841, Mad. Novello was the prima donna at Fcrmo, a city, as is well known to all familiar with Romagnian topography, that is located within the papal territory, and consequently under the jurisdiction of the Roman authorities. She could not quit the place without a passport, which document he of the opera house at Rome had the power to prevent her obtaining, and he thus held tho lady in such firm possession as would effectively hinder her from appearing at the other theatre, if it did not compel her to sing at his own. The minister of police at Fermo, Count Gigliucci, communicated to the cautatrice the restraint imposed upon her by the Roman manager, whereof he, the count, was tho unhappy instrument; and communicated, too, that he was under the sad necessity of placing the lady under arrest until she should have made arrangements satisfactory to the impressario, whose interests he protected. The courteous captor became in turn a captive, his captivation being effected by the

personal charms of the fair prisoner whose person he held in durance, and he did not release her from her thraldom until she had vowed to bind herself to him for ever. Her hymeneal engagement, however, Wm not to interfere with the two theatrical contracts which then perplexed her, nor with subsequent professional duties to which she had already pledged herself i but it was to be discharged when she hod freed herself, by fulfilment, from all the legal demands upon her talent at that time pending. The first of these was, of course, that which was the subject of the Romano-Genoese controversy, and was the immediate occasion, therefore, pi .her connection with her future husband. The said controversy was finally settled by arbitration, to the following effect:—It is permitted to the flock of the pope to eat flesh and to hear operas for the entire period intervening between the Feast of the Nativity and the solemn term of Lent, and the carnival season of 1842 was thus to extend over twelve weeks, for six of which, dominion over the vocal and histrionic powers of the songstress was adjudicated to the manager of Rome, and for the other half moiety, the same advantage was ceded to him of Genoa.

One of the engagements that Mad. Novello had npon her hands was to Mr. Macroady, who was then conducting l)rury Lane theatre upon a principle of truly poetic purity, which has vainly been emulated by subsequeut directors of dramatic taste in London. Mr. Serle, the actor and dramatist, and the husband of Mad. Novello's retired sister, was the chief confident of all the arrangements of tho great manager, and it was to bis suggestion that the London public owed the opportunity Mr. Macready afforded them of witnessing the lady's talent in a capacity in which she had not yet appeared in her native country. Her ddnit oo the stage in England was in the summer of 1842, and she chose Pacciru'i opera of Saffo for the display of her ability,—a work, however, which was far better fitted to exercise the refined classic taste of the director of the theatre m the arrangements of the mise-en-scene, than to place the artistic talent of the prima donna in an interesting light before the public. Her brother-in-law translated the libretto, and everything that could possibly be accomplished to give good effect to the performance was done; but nothing could render a weak opera of a weak composer an interesting work, and the error of judgment in choosing such a piece for her appearance was not a little injurious to our heroine's first impression on the London playgoers. In tbe repertory of Drury Line theatre was Handel's Acta and Galatea, the production of which, with Mr. Stanfield's scenery and Mr. T. Cooke's Instrumentation, was one of the most remarkable events of Sir. Macready's management — nay, of modern theatrical history. On the withdrawal of Saffo, Mad. Novello sang the chief character iu this immortal work, and produced an effect in it which was impossible to her in the feeble music of the modera Italian composer. !■.!!

She sang that year at our provincial music meetings; and then,without a formal farewell of the public, she retired from the field of her constantly fortunate efforts, aud became the Countess Gigliucci The historian may not pry into the incidents of her private life, and there occurs, therefore, a necessary hiatus in the current of our narrative, which cannot be resumed until the period when Mad. Novello returned o the exercise of her profession.

I> {To be continued.)


- - —,— •«

Musical SociBTr or London.—The fifth and last concert of the season was no less interesting than its predecessors, as will be seen by the subjoined programme :—

Pabt L

Overture,"Leonora" . . . • •»'■'. Beethoven Aria "Act nur einmal noch in leben" . .

Fifth Concerto, violin

Recit "E mi lasci cosi" \
Aria "Tu m' abbandoni"/ *
Overture" Les deux Journces . . .

Pabt H.

Symphony in A minor (Op. 56)
Recit. "Di ostilitende" ~\
Aria "DnlP asilo della pace "J *' *
Recit. "Krafft meines heiligen Amtes" )
Aria " Wenn Romeo den Sohn crschlagen" )
Overture " Der Freyschtitz" .

So magnificent was the execution of the first overture that a very , strong demand for its repetition ensued even after Mile- Meyer




Mendelssohn Costa


had ascended the platform; but Mr. Mellon declined to accede to the compliment, gratifying as it must have been to himself and the perfectly trained band under his control. Equally praiseworthy was the execution of the other two overtures, both of which were given to perfection. The great treat, however, was Mendelssohn's superb symphony in A minor, best known perhaps as the Scotch symphony, having, it is said, been composed (like the Isles of Fingal) while the illustrious master -was influenced by reminiscences of his visit to North Britain, and impregnated with the character of the locality. From beginning to end the playing of the orchestra was irreproachable: it was evident that every member was earnestly imbued with the spirit of the composition, and all did their best to render justice to its marvellous beauties. The consequence was one of the finest performances of this picturesque work we have ever heard: and no wonder that the audience were worked up to enthusiasm; so much so was this the case indeed, that there were loud calls for the scherzo to be repeated, but Air. Mellon, deaf to the solicitation, went on with the next movement. Herr Molique met with an "ovation" both on entering and leaving the orchestra, and was frequently applauded during the performance of his very fine concerto, which he played to admiration, and in which the orchestral accompaniments were given with the utmost delicacy and precision. Miss Louisa Pyne's charming voice and facile vocalisation were conspicuous alike in the air of the German and Italian composer—the latter although replete with difficulty not being very effective— no fault of Miss Pyne's, however. Mile. Meyer's rich mezzo soprano told to greater advantage in the air from Titus than that from I Capidetli, in which the time was somewhat dragged.

New Pstilhabmonic Concebts.—The fifth, performance on Monday brought the series to a termination. The programme included the overtures to La Clemenza di Tito and Preciosa, Beethoven's symphony in D, No. 2, Mendelssohn's concerto in D minor, and Spohr's dramatic concerto for violin and orchestra. In consequence of both Italian operas giving extra nights, Dr. Wylde was deprived of some of his regular "hands," and forced to look for recruits in all directions. Fortunately, good players in London are not scarce. To the execution of Beethoven s symphony, we have scarcely anything to award but praise, and the liberal applause which followed each movement proved that the audience were thoroughly satisfied. Herr Becker played the dramatic concerto—so great a favourite with Ernst, and introduced by that distinguished violinist on the occasion of his first performance in this country—in masterly style, and the applause at the end was uproarious. The grand concerto of Mendelssohn also was a triumph for Mr. John Barnctt, who created a marked sensation. The last movement more particularly displayed the young pianist's execution and taste to equal advantage. The voice music was allotted to Miss Louisa Pyne, Mad. Lemmens Sherrington, and Herr Herrmanns, the new German bass, who made so great a hit the week previously at the Monday Popular Concerts. Herr Herrmanns introduced "Falstaff's song," from Otto Nicolai's Merry Wives of Windsor, with the same success as before. He is an unquestionable acquisition to the concert-room. Miss Louisa Pyne sang a grand scena from Spohr's Jessonda, "Batti, batti," and a romance from Mr. Wallace's Lurline. The expressive manner in which she gave the air from Don Oiovanni received the liveliest sympathy and won a hearty encore. Mad. Lemmens Sherrington gave an air from Weber's Euryanthe to perfection, but the audience were more pleased with Adolph Adams' "Ah ! vous dirai-je mamma," which was redemanded. The hall was crowded in every part- Dr. Wylde may congratulate himself that the season has been one of the most successful in the annals of the New Philharmonic Society, which merely shows that energy and perseverance in a right cause are capable of surmounting any difficulties.

Mas. Andebson's Concebt.—The annual concert of Mrs. Anderson, pianist to Her Majesty and instructress to the Princesses Alice, Helena, and Louise, took place on Wednesday aftei* noon, in Her Majesty's Theatre, which was crowded by a fashionable audience. The programme (comprised no less than three hours and a half of vocal and instrumental music, for the most part consisting of excerpts from the popular Italian operas of the

day, and therefore not calling for detailed criticism. Among the singers were Mad. Alboni, Mile. Titiens, Mad. Borghi-Mamo, Mad. Lotti della Santa, Mile. Michal, Mile. Brunetti, Signors Giuglini, Mongini, Belart, Vialetti, Everardi, Gassier, &c.—in short, the whole of Mr. E. T. Smith's company, with the single exception of Signor Ciampi, who had only made his first appearance the night previous; It is scarcely requisite- to add, that with such a galaxy of talent—enriched, moreover, by the addition of Miss Louisa Pyne, Mile. Artot, and Mile. Parepa—a feast of vocal music was provided, ample enough to satisfy the hungriest dilettante. A more brilliant and well varied selection of favourite pieces could hardly have been offered; and, although concerts in the daytime seldom provoke many outward signs of approbation, the repeated applause bestowed on the present occasion showed that either the audience were more impressionable or the programme more enlivening than usual. Tlie solo instrumental department, with the exception of a fantasia on the violin by Herr Becker (admirably played, and thoroughly appreciated), was exclusively represented by Mrs. Anderson and her nephew, Mr. W. G. Cusins. Every amateur of the pianoforte was pleased to see Mrs. Anderson once more come forward in a great work which she used formerly to play with such success at the Philharmonic and other concerts of importance. Beethoven's concerto in E flat—not very long since—was frequently associated with the name of this lady, who had studied it with ardour, and mastered it so completely as to grasp, at one and the same time, its technical difficulties and poetical meaning. On Wednesday she confined herself to the first allegro, which, probably, she never rendered with greater spirit, taste, and effect; and, to judge by the warm reception it obtained, notwithstanding the length of the programme, no one would have objected to hear the two movements that were omitted. In Mr. Osborne's very ingenious and showy duet for two pianofortes on themes from L'Etuile du Nord, with Mr. Cusins as her associate, Mrs. Anderson was equally happy. This was a vigorous and highly effective performance on both hands, well meriting the hearty plaudits it elicited. The concert began at half-past one, and did not terminate till considerably after five; nevertheless, the attractions it presented were so many and so sterling, that the majority of the audience remained to the end.

PaorEssoBs' Concebt Union.—Mr. Henry Blagrove, the distinguished violinist, has organised a series of concerts of "chamber" music, under the above title, which we suppose implies a sort of joint-stock arrangement between vocalists and classical instrumentalists of repute. The first concert took place on the 1st inst., at the Beethoven Rooms, the programme comprising Mozart's quintet in G minor, Spohr's quartet in B flat, Beethoven's quartet in E flat, songs by Miss Augusta Thomson and Mr. Wifbyc Cooper, and a violin solo by Mr. II. Blagrove. It Was a model programme in respect to form and quantity, and the only objection that could be urged was, that the pianoforte did not figure in any of the concerted pieces. The quartets, &c, for Stringed instruments, require the relief afforded by contrast — a fact of which the Monday Popular Concert directors appear to have been all along aware, as they have taken care to secure the services of a first-class pianist for every concert, and to insert a trio for pianoforte, violin, and violoncello, a sonata for pianoforte and violin, or a sonata for pianoforte alone, to brighten up the performances. The executants at Mr. Blagrove's first concert were Messrs. H. and R. Blagrove, Clcmenti, Colchester, and Daubert. Mr. Sidney Smith accompanied the vocal music.

Mb. W. G. Cusins gave his matinee mwicale at Willis's Rooms, on the 2nd inst. This gentleman — a zealous pianist, a clever violinist, and an industrious composer—is remarkable for his easy and finished style of playing, and for his leaning towards the higher order of music. lie played on this occasion Beethoven's sonata in E flat, No. 3 of Op. 31, joined Mr. Henry Blagrove in Mozart's sonata in A, and M. Paque in Mendelssohn's sonata in B flat. He also played a polonaise by Chopin, and assisted Herr Engel in a duo for harmonium and pianoforte, on airs from Le L Prophcte. Mr. John Thomas contributed a harp solo, II Mundolino, by Parish Alvars, which was much applauded. The vocal music was excellent. Miss Mcssent introduced a charming song by the late F. E. Bache, "What wakes me from my slumber ;" Miss Lascelles sang a well-written and graceful romance, « Eloisa," by the beneficiaire; Mad. Rieder created a sensation by her vocalisation in a bravura from Auber's Action, a duet by Boieldieu, and a Tyrolienne, in which she was accompanied by the Orpheus Glee Union. M. Lefort gave a not very interesting song by Adolphe Adam, with harmonium accompaniment, and the Orpheus Glee Union achieved honour both for themselves and Mr. Cusins in twojpart-songs, "Daybreak," and " As the sunshine to the flower." Mr. Harold Thomas was accompanist. The rooms were well filled.

Messrs. Ries's Concerts.—The concert of Messrs. Louis and Adolph Ries, at the Hanover Square Rooms, was a thorough classical entertainment. The concerted instrumental pieces were, Ferdinand Ries's grand Sextuor in C, for piano, two violins, viola, violoncello, and contrabasso, played by Messrs. A. and L. Ries, Diechmann, Webb, Lidel, and Severn; and Spohr's stringed instrument quartet in D minor, Op. 74, in which the first violin was played by Mr. L. Ries. M. Vieuxtemps' Fantasia appasionata, for violin, was admirably executed by Mr. L. Ries, whose excellence as a solo performer is not sufficiently known to the public. On the other hand, his brother, by a fine performance of Beethoven's sonata in A, for piano and violoncello (in which he was ably supported by Herr Lidel), and of two solos by Rubinstein and Chopin, showed himself entitled to an honourable place among the pianists of the day. Several vocal pieces, sung by Mile. Jenny Meyer and Miss Eleanor Wilkinson, afforded an agreeable variety to the concert.

The London Glee And Madrigal Society last week gave their hundredth performance with unabated vigour and success, and their present season will terminate positively this day. Their repertoire has consisted of above a hundred different pieces—glees, madrigals, catches, and old ballads — the most favourite of which have been included in the programmes of the recent performances. We looked forward with pleasure to the resumption of this society's pleasant entertainments next season, and hope to find Mr. Oliphant, whose literary illustrations have added so much to the success of the performances, provided with a fresh budget of information.

Mr. Brinlet Riciiards's Concert, at' St. James's Hall on the 8th inst., was of more than average excellence, the selection generally being in good taste, the artists of the highest stamp, and the execution throughout unexceptionable. If a fault couhl be found, it was with the modesty of the beneficiaire, in not affording his patrons the gratification of a solo. However, Mr. Richards made amends by his admirable performance of the C minor sonata of Beethoven, for piano and violin (Op. 30), the violin being in the able hands of M. Sainton, and no less distinguished himself in the duet of Mozart (Op. 53), for two pianofortes, in which he shared the laurels with Miss Arabella Goddard herself, and in Hummel's trio in E flat, the violin and violoncello parts being supported, with their accustomed ability, by MM. Sainton and Paque. Moreover, Mr. Richards did honour to his fatherland by producing a new song, "The Harp of Wales," which is sure to become a favourite of the Cymri, who are justly proud of their bards. So admirably was this sung by Mr. Sims Reeves that an encore was inevitable, and the ballad was as warmly applauded the second time as the first. The '• Suliote War Son<»," another effective composition of Mr. Richards, had ample justice rendered it in the perfect singing of Mr. Santley, who, earlier in the evening, contented himself with reappearing and bowing-his acknowledgments to the very strong demand for a repetition of Mr. J. W. Davison's song, "Rough Wind that moanest loud" (from the Vocal Illustrations of Shelley). Miss Arabella Goddard contributed a fantasia of M. Ascher's, on airs from Dinorah, evoking great applause by the united grace and brilliancy of the performance. Miss (" Mile. Euphrosyne ") Parepa gave Paer's variations on "La biondina in Gondoletta" (recently introduced at the Monday Popular Concerts), and the " Shadow Song " from Dinorah, with remarkable spirit and effect, and was rewarded by the heartiest acclamations. She also joined Mad. Laura Baxter in Paer's Nattumo, "Puro ciel tranquilla notte" (another Monday Popular Concert discovery); Mad. Baxter, in addition, giving a new song by Mr. Vincent Wallace, "The last Good-bye," written

expressly for her, and accompanied by the composer. Mis Eleonora Wilkinson (a dibutante f) essayed the bolero from Verdi'j Vespri Siciliani. Miss Messent's rendering of Seeker's song, "Oh! happy is the little bird" (violoncello obbligatoby M. Paque)| was deservedly applauded, and Mr. Reeves was compelled to repeat the popular " Come into the Garden, Maud." Herr Engel's harmonium solo was also redemanded, and we almost wonder that there was not a bis for the "Adelaida," so exquisitely sung by Mr. Sims Reeves—the accompaniment of Miss Arabella Goddard being as charming as the singing. The room was well-filled, and the audience thoroughly qualified.

The Morning Concert Of Herr Care Deichmann, on Thursday, at Willis's Rooms, introduced a new pianist from Berlin, in the person of Herr Sigismund Blumner, who played a prelude by Chopin, and Weber's " Polonaise," with considerable skill. The special pieces were Beethoven's quintet in C major, Op. 29, for string instruments, and Schumann's quintet for piano and strings in E flat, Op. 44. The quintet of Beethoven — executants, Herr Deichmann, Herr L. Ries, Mr. Webb, M. Zerbini, and Herr Hausmann—was extremely well played, if we except the last movement, presto, which, though presto, was not as clear and distinct as it might have been. Mad. Sainton-Dolby was encored in Herr Deickmann's new, graceful and extremely well-written song, with violin obbligato, "The Brook," and the English ballad, "The Skipper and his Son;" the latter a very pretty piece of melody. Herr Deichmann's solo displays were an adagio and fugue by Bach, and a solo entitled L AClegrezza, of his own composition, both of which were executed with admirable dexterity. The attendance was large.

Mele. Sedeatzeks' Matinee took place at Campden House, Kensington, on Thursday. The programme was remarkable in one respect only, the artistes being nearly as numerous as the pieces. Mile. Sedlatzek's solos were Signor Arditi's "II Baccio," written for Mile. Piccolomini, and Mr. Balfe's ballad, " I'm not in love, remember." She also sang Mr. AVallace's tiio, "Stay, fleeting time," with Mr. G. Perren and Mr. Patey. Among, the vocalists were Mad. Catherine Hayes, Miss Poole, Herr Herrmanns, and the Gleo and Madrigal Union. Miss Freeth (pianist), Herr Oberthur (harp), Mr. Lazarus (clarinet), and Signor Pezze (violoncello), played solos on their respective instruments. Conductors—Mr. J. E. Callcott, Herr A. Ries, and Herr W. Gnnz.

Mad. Paez gave a matinee musicalc at the Grosvenor ConcertRoom, on Tuesday. This lady, but little known to the London public, has a fine voice and brilliant execution. She sari" tie cavatina "Ernani, involami," and an air from Torquato Tasso, both with great effect. Mad. Paez was assisted by M. Dcprct, and Herr Herrmanns as vocalist, and M. Rene Douay (violoncello) and Master Henri Ketten (pianoforte) as instrumentalists. Master Ketten played Mendelssohn's "Rondo Cappricioso "Fantaisie Impromptu," by Chopin; and " Saltarello, by Alkan, with surprising mastery and ease considering his years. He promises indeed to become one of the players of the day. Herr Herrmanns as usual astonished his hearers by the power and volume of his voice. M. Vera and M. Emile Berger were the accompanists.

Miss Fanny Coreieed, the clever pupil of Professor Sterndale Bennett, gave a concert of classical pianoforte music at 14 Montague Place, Bryanstone Square, on Saturday, the 19th ult, assisted by Mad. Sainton-Dolby and M. Redfearn, singers, and M. Sainton and M. Paque, instrumentalists. The programme, with one or two exceptions, was strictly classical, and comprised, for the pianoforte pieces, Dussek's sonata in B flat, with violin (Monday Popular Concert Library); Mendelssohn's sonata in D, Op. 58, with violoncello; Beethoven's sonata solos, Op. 22; and Hadyn's trio in G, with violin and violonceUo. Miss Corfield, who last season exhibited such undoubted promise, has much improved, having gained both in strength of finger and neatness of execution. She plays the music of the great masters, too, con amore —an important point. Mad. Sainton-Dolby sang Mr. Hatton's song," Day and Night," and Professor Bennett's "Dawn, gentle Flower," both in her most graceful manner; and M. Redfearn was very successful in the aria, "Dalla sua pace," from

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