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Madame Clara Novello made her theatrical debut 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 examina tion 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 the 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 "Inflammatus" were thus first made known to the 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 the same part in the performance.

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In Italy all theatrical engagements are effected by means of correspondenti,-agents whose entire occupation is to negotiate the 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 mistake of the correspondenti-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 the two discrepant contracts was consequently non-existent. The Roman and

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Genoese manager had each the law in his favour-alas! that jurisprudence should be so imprudent as to see a parity of right on each side of a dispute but the 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 Fermo, 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 the 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 cantatrice the restraint imposed upon her by the Roman manager, whereof he, the count, was the 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, was not to interfere with the two theatrical contracts which then perplexed her, nor with subsequent professional duties to which she had already pledged herself; but it was to be discharged when she had 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, of 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 upon her hands was to Mr. Macready, who was then conducting Drury Lane theatre upon a principle of truly poetic purity, which has vainly been emulated by subsequent 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 the great manager, and it was to his 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 début on the stage in England was in the summer of 1842, and she chose Paccini's 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 in the arrangements of the mise-en-scène, 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 the repertory of Drury Lane theatre was Handel's Acis 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 Mr. Macready's management-nay, of modern theatrical history. On the withdrawal of Saffo, Mad. Novello sang the chief character in this immortal work, and produced an effect in it which was impossible to her in the feeble music of the modern 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, and 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.

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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 Mr. 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. Mlle. Meyer's rich mezzo soprano told to greater advantage in the air from Titus than that from I Capuletti, in which the time was somewhat dragged.

NEW PHILHARMONIC CONCERTS.-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 Barnett, 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 Giovanni 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.

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MRS. ANDERSON'S CONCERT.-The annual concert of Mrs. Anderson, pianist to Her Majesty and instructress to the Prin cesses Alice, Helena, and Louise, took place on Wednesday afternoon, 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, Mlle. Titiens, Mad. Borghi-Mamo, Mad. Lotti della Santa, Mlle. Michal, Mlle. 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, Mlle. Artôt, and Mlle. 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. The 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'Etoile 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.

PROFESSORS' CONCERT 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. Wilbye Cooper, and a violin solo by Mr. H. 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 contrastfact 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, Clementi, Colchester, and Daubert. Mr. Sidney Smith accompanied the vocal music.

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MR. W. G. CUSINS gave his matinée musicale 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. He 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 Prophète. Mr. John Thomas contributed a harp solo, Il Mandolino, by Parish Alvars, which was much applauded. The vocal music was excellent. Miss Messent introduced a charming song

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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 Actéon, 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 two part-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 in. strument 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 Mlle. 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 répertoire 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. BRINLEY RICHARDS'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 could be found, it was with the modesty of the bénéficiaire, 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 Song," 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 perform ance. Miss ("Mlle. Euphrosyne ") Parepa gave Paer's variations "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 Natturno, "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

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expressly for her, and accompanied by the composer. Eleonora Wilkinson (a débutante?) essayed the bolero from Verdi's Vespri Siciliani. Miss Messent's rendering of Secker's song, "Oh! happy is the little bird" (violoncello obbligato by 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.

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THE MORNING CONCERT OF HERR CARL 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. 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'Allegrezza, of his own composition, both of which were executed with admirable dexterity. The attendance was large.

MLLE. SEDLATZEKS' 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. Mlle. Sedlatzek's solos were Signor Arditi's "Il Baccio," written for Mlle. Piccolomini, and Mr. Balfe's ballad, "I'm not in love, remember." She also sang Mr. Wallace's trio, "Stay, fleeting time," with Mr. G. Perren and Mr. Patey. Among the vocalists were Mad. Catherine Hayes, Miss Poole, Herr Herrmanns, and the Glee 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. Ganz.

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Room, on Tuesday. This lady, but little known to the London MAD. PAEZ gave a matinée musicale at the Grosvenor Concertpublic, has a fine voice and brilliant execution. She the cavatina "Ernani, involami," and an air from Torquato_Tasso, both with great effect. Mad. Paez was assisted by M. Depret, 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, mises indeed to become one of the players of the day. Herr with surprising mastery and ease considering his years. He volume of his voice. M. Vera and M. Emile Berger were the Herrmanns as usual astonished his hearers by the power and accompanists.

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MISS FANNY CORFIELD, 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 violoncello. 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

Don Giovanni, and "The Garland" of Mendelssohn. This gentleman has a capital tenor voice, and sings like a musician.

ROYAL SOCIETY OF FEMALE MUSICIANS' CONCERT.-The concert at the Hanover Square Rooms in aid of the funds of the Royal Society of Female Musicians was attended by a large audience. The artistes were Mlle. Parepa, Mad. Reider, Mad. Sainton, Miss Palmer, Miss Rachel Gray, Miss Eliza Hughes, Miss Emily Gresham, Miss Augusta Thomson, M. Jules Lefort, Mr. Wilbye Cooper, Mr. Santley, the London Glee and Madrigal Union, Mr. G. W. Cusins, M. Leopold de Meyer, Herr Engel, Mr. Sydney Pratten, and the London Quintet Union-Professor Sterndale Bennett officiating as conductor. The programme included twenty-two pieces, the most noticeable of which were Hummel's "Quintet in E flat major," admirably played by Mr. W. G. Cusins (pianoforte) and the London Quintet Union (Messrs. Willy, Webb, Pettit, and Reynolds); the "Shadow Song" from Dinorah, given with much brilliancy by Mlle. Parepa; the scena from John Barnett's Fair Rosamond," Ah me! he comes not !" sung with genuine dramatic expression by Miss Augusta Thomson; Beethoven's "O beauteous daughter of the starry race," most effectively rendered by Mr. Wilbye Cooper; and Engel's Octobre, so well delivered by M. Jules Lefort, that it was re-demanded; Vincent Wallace's new song, "The Bellringer," sung by Mr. Santley and similarly honoured; a new ballad, by Miss Virginia Gabriel, "The Skipper and his Boy," well suited to Mad. Sainton, who sang it with that exquisite expression which she knows so well how to infuse into pathetic ballads; the prayer from Lurline, given with great taste by Miss Hughes, and the trio from Spohr's Azor and Zemira, "Semi fugge l'ombra intorno," excellently interpreted by Mad. Reider, Miss Augusta Thomson, and Miss Palmer. The chief instrumental feature of the concert was M. Leopold de Meyer's execution of a fantasia of his own composition; the astonishing power and brilliancy of this accomplished pianist has on several occasions been remarked, but never was the originality of his style more apparent than last night; he not only delighted but fairly astonished the audience by the delicate play of light and shade-the ease, the piquancy, and the command over the instrument that characterised his performance, and the applause at the conclusion was so vociferous that an encore was the result. Herr Engel also deserves honourable mention for his solo on the harmonium; while the London Glee and Madrigal Union were encored in Elliott's "Come see what pleasures in our plains abound." The concert was most successful, and it is to be hoped that in a pecuniary sense it may benefit a charity which has for its object the relief of those who, after administering for years to the gratification of the public, find themselves from various causes reduced to poverty in their declining days.

MR. F. SCOTSON CLARK, the pianist and harmonium player, gave a concert on Thursday morning at Collard's Pianoforte Rooms, Grosvenor Street, which was attended by a crowded audience. The programme was enriched by Professor Bennett's trio in A major, Op. 26, for piano, violin, and violoncello, played by Mr. Scotson Clark, M. Horace Poussard, and Mr. W. Pettit. Mr. Clark also performed in a grand duo for pianoforte and harmonium, Sur des Motifs de Robin des Bois, with Miss A. M. Wyatt-Mr. Clark presiding at the harmonium, and a solo of his own composition on the harmonium, on airs from Sonnambula. Among the vocalists we may name Miss Henderson, Miss Palmer, Miss Augusta Thomson, and Miss Eliza Hughes, as having especially distinguished themselves.

A MORNING CONCERT, in aid of the funds of the London Home, Notting Hill, was given at St. James's Hall, on Thursday, and attracted a large assembly. The following artistes assisted gratuitously:-Mad. Catherine Hayes, Miss Parepa, Mad. Lemmens Sherrington, Miss Stabbach, Mad. Sainton-Dolby, Mr. Wilbye Cooper, Mr. Santley, and the London Glee and Madrigal Union, vocalists; Miss Arabella Goddard, M. Sainton, and Master Drew Dean, instrumentalists. The first part was conducted by Herr Wilhelm Ganz; the second by Mr. Lindsay Sloper.

ORGAN FOR GODMANCHESTER PARISH CHURCH.-This large and powerful instrument, containing 32 stops distributed over two complete manuals, and an independent pedal organ, was publicly opened on Monday and Tuesday last at the factory of the builders, Messrs. Bryceson and Fincham, Brook Street, Euston Road. Mr. Frederic Archer (late organist of the Royal Panopticon) gave two grand performances. The selection comprised the following overtures,-A Midsummer Night's Dream, La Gazza Ladra, Melusine, Zampa, Oberon, William Tell, Jubilee, Preciosa, besides the graver works of Bach, Handel, Mozart, Rinck, &c. Mr. Archer's dexterity and manipulation was the subject of general remark amongst the large and musical audience assembled on each occaMr. W. H. Strickland, of St. Mary Magdalen, Munster Street, gave the concluding performance, also of sacred as well as secular music, and received frequent encores. The organ is chiefly remarkable for its rich and powerful swell, as well as the evenness and beauty of the numerous solo stops. Amongst the novel appliances introduced is a "Tremulant " acted on by a bar occupying a horizontal position between the swell and the great manuals, which is a great improvement on the ordinary pedal or draw stop, and allows the performer to introduce far more delicate effects by

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CHRIST CHURCH, MARYLEBONE.-There were twenty-three applicants. The Vestry met on Thursday, 31st May, and reduced them to six, viz., three ladies and three gentlemen. The following had the highest number of votes:-Mrs. Arthur Willmore, 53; Miss Lindley, 31; Miss Bloomer, 20; Mr. Swannell, 22; Dr. Hatchens, 19; Mr. George Loder, 18. These had to play at the church on the succeeding Thursday, and go to the ballot on Saturday. The pieces selected to be played were the double choruses, "Fixed in his everlasting seat" (from Handel's Samson), the "Old Hundredth Psalm," and a chant and voluntary selected by the candidates. The result of the ballot on Saturday was- - for Mrs. Arthur Willmore, 58; Miss Bloomer, 22; Miss Lindley, 12; Mr. George Loder, 9; Mr. Swannell, 1; Dr. Hatchens did not make his appearance at the contest.

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HER

Advertisements.

MAJESTY'S THEATRE.

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This Evening (Saturday, June 16), will be repeated (third time this season) Mozart's chef d'œuvre, IL DON GIOVANNI. with the following powerful cast:-Donna Anna, Mile. TITIENS; Donna Elvira, Mile. VANERI: Zerlina, Mad. BORGHI-MAMO; Leporello, Signor CIAMPI; Don Ottavio, Signor GIUGLINI; Masetto, Signor RONCONI; Il Commendatore, Signor CASTELLI; and Don Giovanni, Signor EVERARDI. The Minuet will be danced by Mlle. CLAUDINA CUCCHI and Mile. MORLACCHI. In active preparation, and will shortly be produced, with new and extensive scenery, properties, and decorations, Weber's grand romantic opera of OBERON. Principal characters by Mlle. TIENS, Mlle. LEMAIRE, Mlle. VANERI, Mlle. BRUNETTI, Mad. ALBONI, Signor BELART, Signor EVERARDI, Signor ALDIGHIERI, Signor CASTELLI, Signor MERCURIALI,

and Signor MONGINI. In order to secure places for these grand performances, ear

application is earnestly recommended to be made at the Box-office of the Theatre, which is open daily from 10 to 6, under the direc ion of Mr. Nugent. NOTICE. In consequence of the numerous applications at the Box-office of the Theatre, from the gentry residing in the vicinity of the metropolis, the Lessee and Director has decided upon giving one Grand Morning Performance, which will take place on Wednesday, June 20, when will be performed Meyerbeer's grand Opera of LES HUGUENOTS, Raoul, Signor GIUGLINI; De Cosse, Signor SOLDI; Trivannes, Signor MERCURIALI; St. Bris, Signor GASSIER; Nevers, Signor EVERARDI; De Retz, Signor CASABONI; Maurevert, Signor FELLAR; Meru, Signor CASTELLI; Guardiano. Signor ROMILLI; Marcello, Signor VIALETTI; Urbano, Mad. BORGHI-MAMO; Margherita, Mile. Louisa MICHAL (her second appearance in this country); Dames d'Onore, Miles. NARDI and DELL'ANESE; Valentina, Mlle. TITIENS. Conductor, Signor ARDITI The Opera will commence at 2 o'clock. In order to secure places for this grand Morning Performance (positively Theatre, which is open daily from 10 until 6, and on the nights of performance until the end of the Opera.

expressed deep admiration. Among other things he informed me that Beethoven went with him one evening to the Theater an der Wien, when his (Paer's) Leonora was performed. Beethoven, he said, sat next him, and, after repeatedly exclaiming 'Oh, que c'est beau, que c'est intéressant!' at last observed, Il faut que je compose cela. Pacr appeared quite proud of having thus been the cause of the composition of Beethoven's Fidelio, and the truth of this story, which I had from his own lips, is beyond a doubt. FERDINAND HILLER."

Every trait which can contribute to an elucidation of Beethoven's character, and to the history of the origin of his works, is welcome. Paer's statement, however, differs materially from the version given by M. Berlioz. According to Paer, Beethoven was ingenuously moved by what he saw and heard, and involuntarily expressing his feeling and inclination to set the same subject to music. Here we find no indication of the rudesse humoriste, nor of the "malicious irony" which Berlioz describes: Votre opéra me plaît, j'ai envie de le mettre en musique!

Friedrich Treitschke, at that period stage manager and

the only one this season), early application should be made at the Box-office of the poet of the two court theatres in Vienna, and who, at

H

ER MAJESTY'S

THEATRE. IL DON GIOVANNI. TITIEN, BORGHI-MAMO, VANERI; CIAMPI, EVERARDI, RONCONI, GIUGLINI. This evening (Saturday, June 16) will be repeated Mozart's chef-d'œuvre, IL DON GIOVANNI, with the following powerful cast:-Donna Anna, Mile. TITIENS; Donna Elvira, Mile. VANERI; Zerlina, Mad, BORGHI MAMO; Leporello, Signor CIAMPI; Don Ottavio, Signor GIUGLINI; Masetto, Signor RONCONI; Il Commendatore, Signor CASTELLI; and Don Giovanni, Signor EVERARDI. The Minuet will be danced by Mlle. CLAUDINA CUCCHI and Mile. MORLACCHI. Conductor-Mr. BENEDICT. The Opera commences at 8 o'clock. Pit tickets, 8s. 6d. Gallery Stalls, 5s.; Gallery, 3s.; to be had at the Box-office of the Theatre, which is open daily from 10 to 6. 1

ROYAL ITALIAN OPERA, COVENT GARDEN

Grand Concert.-Production of ORFEO.—On W dnesday, June 17, a GRAND EVENING CONCERT will take place. On this occasion the first part of the Concert will consist of a Miscellaneous Selection. After which will be produced the cele brated lyric work, by Gluck, entitled ORFEO E EURYDICE, illustrated by costumes, scenery, and decorations. The Subscribers to the Opera for the Saturdays of the season, as well as those for the second alternate weeks, will be presented with the entrée to the above performance. Box Subscribers will receive Boxes, and Stall Subscribers will receive Stalls. On Tuesday next, June 19, will be performed (for the first time this season) Flotow's Opera, MARTHA, Principal characters by Mad. PENCO and Mile. DIDIEE; Signori GRAZIANI, TAGLIAFICO, ZELGER, and MARIO.

FRENCH PLAYS. ST. JAMES'S THEATRE.

EVERY EVENING. Mlle. DUVERGER, M. LECLERC, M. PAUL DEVAUX. Orchestra Stalls, 7s. 6d. ; Balcony Stalls, 55.; Pit, 23. Gallery, Is. Private Boxes from £229. Commence at 8. Box Office open from 11 to 5 daily.

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"In a note to an account of Beethoven's Fidelio, in Paris, the question is mooted whence Berlioz hit upon the idea of attributing to Beethoven a joke given at length in the article mentioned. I told it him years ago, and it was communicated to me by a person who certainly did not invent it, namely by old Paer himself. The latterwhom I frequently met during my youth, in Paris, and part of whose character it was to be more than friendly with every one-often spoke to me about his acquaintance, in Vienna, with Beethoven, for whom he

Beethoven's request, arranged the libretto of the opera when it was revised in 1814, has written as follows:

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"It was at the end of 1804, that the Baron von Braun, the new pro prietor of the Imperial Privilegirtes Theater an der Wieu, suggested to Ludwig van Beethoven, then in the prime of his youthful powers, that he should compose an opera for that establishment. It was thought, from the oratorio of Christus am Oelberg (Christ on the Mount of Olives), that the composer would produce as great things in dramatic music as he had previously done for purely instrumental music. Besides a money: payment, he was offered free lodgings in the theatre. Joseph Sonnleithner undertook to furnish the libretto, and selected the French story L'Amour Conjugal (by Bouilly), although it had been already set to music by Gaveaux, as well as composed, with Italian words, by Paer, under the title of Leonora, both versions being translated into German. Beethoven did not, however, fear his predecessors, but set, heart and soul, about his task, which was nearly concluded about the middle of

1805."

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The first performance took place on the 20th November, under unfavourable circumstances.. The nobility had quitted the capital, and the inhabitants avoided the theatre,.. so that the audience, at the first three representations, consisted principally of the French military.

The question now arises: When was Paer's Leonora written, and at what period of Paer's residence in Vienna was it performed? In the autumn of 1798, Gaveaux's Amour Conjugal was produced for the first time in Paris. At that time Paer was living in Vienna, where Beethoven also had been since 1792. Paer remained in the Austrian

capital till 1802, but as early as Easter of that year accepted the post of Capellmeister in Dresden, his wife (previously Mlle. Riccardi) being engaged as prima donna at the Dresden Italian Opera. From Dresden, in 1806, Paer followed the Emperor Napoleon to Warsaw, and thence, after the peace of Tilsit, to Paris, where he occupied a very honourable position until his death, on the 3rd May, 1839. Paer's Leonora, therefore, while he, the composer himself, was in Vienna, can only have been given during the interval between 1799 and 1801 inclusive, or, if not then, in 1803, at the beginning of which year, according to Gerber's Lexicon, Paer "again visited Vienna for a short period, and composed a new oratorio for the Witwen Akademie, during Lent (den Fasten), 1803."

In the list of Paer's operas from 1799 to 1803, in Gerber, Leonora is wanting; 1799, Camilla; 1800, Griselda, Il Morto vivo; 1801, Achilles, Poche ma Bone, Der Brausekopf, Der lustige Schuster; 1802, L'Intrigo amoroso

In his article on Fidelio, in the Orpheus, Musical Pocket-Book for 1841 (Aug. Schmidt, Vienna).

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