by the late F. E. Bache, "What wakes mo 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. Brinley 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 could 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 ho 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 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 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

expressly for her, and accompanied by the composer. Miss Eleonora Wilkinson (a debutante.') essayed the bolero from Verdi's Vespri Siciliani. Miss Messent's rendering of Seeker's song, "On! 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 bit for the "Adelaida," so exquisitely Bung 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 or Herr Cabldeichmanr, 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 Deichniann, 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 Deichinann'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.

Mlee. 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. MUe. Sedlatzek's solos were Signor Arditi's "H Baccio," written for Mile. 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 Obcrthur (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.

Mad. Paez gave a matinee musicale at the Grosvenor ConcertRoom, on Tuesday. This lady, but little known to the London public, has a fine voice and brilliant execution. She sang 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, 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 Fansy 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. Redteam 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 Op 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 Mile. Parepa, Mad. Reider, Mad. Sainton, Miss Palmer, Miss Rachel Gray, Miss Eliza Hughes, Miss Emily Grcsham, 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 Prattcn, and the London Quintet Union—Professor Sternaale 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. \V. G. Cusins (pianoforte) and the London Quintet Union (Messrs. Willy, Webb, Pettit, and Reynolds); the "Shadow Song" from Dinorah, given with much brilliancy by Mile. Parepa; the scena from John Burnett's Fair Rosamond, "Ah me! he comes not 1" 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 Oclobre, so well delivered by M. Jules Lefort, that it was re-demanded; Vincent Wallace's new song, "The Bellringcr," 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 grea£ 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 Lis 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.

Mb. F. Scotson Clabk, 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 piano, violin, and violoncello, played lorace Poussard, and Mr. W. Pettit. 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 Fob -godmanchesteb Pabish 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 NigMs 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 occasion. Mr. 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 its use.

Godmanchester Organ.

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Chbist Church, Mabylebone.—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 hod the highest number of votes :—Mrs. Arthur Willmore, S3; 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 MAJESTY'S THEATRE. — This Evening (Saturday, June lfi), wl'l be repealed (third time this season) Moiart's chefrt'o-nvre II. DON GIOVANNI with the following powerful cast:—Oouna Anna, Wile Tmww; Doni.a Elvira. Mil* V»mnl; Zerilna, Mad. Borghimamo; l.epor. lo Sisn r ClAMPl: Don Ottavlo, Signor Giuglini; MaMltto. Mgoor KoitcoKl; Il -Comm»ndatore. Signer Castelli; and Don Giovanni Signor EvtaARm. 1 he Minuet will be danced bv Mile. CLAliniKA Cuccbi and Mile. Mom.ACCHl. In active menarallon and will shortly lie produced, with new and extensive icenery, property, Snd deeorationl. Weber l grand romantic opera of OBF.HON. Pr incipal character, by Mile Tiiiei", Mile. Lemaikk, Mile. Vakiki, Mile. B.UNSTTI, Mad. AIBONI, Signor Belabt Signer Evmamii, SIgnor AiniOHirRl, Signor Casielli, Signor Mrrciiriali, and Signor Moksini. In order to socwe pbices for theie grand perform-ncei, far y anulication Is earnestly recommended to bemade-at the Box-office of the Theatre, which ii open dally fr..m 10 to 6. under the direc ion of Mr. Nugent. Notice.-In consequence of the numerous applications at the Box-office or thei Theatre from the gentry fesi.ilng in ihe vicinity of the metropolis, ihe Lessee and Director lias decided upon


Signor Ffllah ; Mem, SIgnor Castt-lm ; Guardiano, Signor Romilli ; Man ello, Mpnor Vialstti; Urbano, Mad. Ukrchi'mamo; Margherita, Mile. LotuSA MlCHAt (her second appearance in this country) j Dames d'Onore, Miles. Nardi and Di.i L'am M:; Valentin.!, Mile. Titiess. Conductor, Signor Aroiti The Opera will commence at 1 o'clock. In order to secure places for this grand Morning Performance (positively the only one this season), earlv application should be made at the Box.olhcc of the Theatre, w hich Is open daily from 10 until 0, and on the nights of performance until the end of the 0|iera.

HEU MAJESTY'S THEATRE. — IL DON GIOVANNI. Titikn*. Boughi-mamo. Vansri; Ciampi. Eterardi. Rottcom, iturtUy, June 16) will be repeated Mnsart't chef-d'cei.vre, th tbe follow.pnwrrfnl rust:—Ummk Ann.i, Mile, vvw. MihrH, Mile. Vaneri; Zerlma, M..d. Buar.Hi Mauo; Leporrllo, Slpnor Ciahpi; Don Ottavio. Signor GlOOUNI; Masetto, Signor Ronconi ; 11 Cummend-ttore, Signor Castilli ; Rnd Don CioTanni. Signor Everaroi. The Minuet will be da> ced hy Mile. Clacdina Cuccm and Mile. Morlaixhi. Conductor—Mr. Benedict. The Opera commences at 8 o'clock. Pit tickets, 8>. Gd.; Gallery Stalls, 6s.; Gallery, 3s. | tu be had at the Bojc-offlce of the Theatre, which is open daily i 10 to 6.

ROYAL ITALIAN OPERA, COVENT GARDEN— Grand Conceit Production of OBrFO.—On W dncsday. June .7, a Gil AND

KVKNING CONCERT will take place. On this occasion ihe flist |»irt of the Concert will comlst of a Mill elianeous Selection. After whic h will he produced the celebrated lyric work. hy (iluck, entitled ORFKO E EURVDICK, lllustraied by coslno cs, scenery, and decorations. '1 he .Subscribers to tile Onera lor the Saturdays of the season, as well as those for the second alternate weeks, will be presented with theintree to the above performance. Box Subscribers will receive Boxes, and StRll Subscribers will receive Stalls. On Tuesday next, June 19, will be performed (for the first time this season) Flolow's Opera, MARTHA. Principal rharacters by Mad. Pejico and Mile. Didieb; Sfgnori Graziani, Taoliapico, Zbmjer, and Mario.


JJ EVERY EVENING. Mile. Dd-"»" »» »..»..»- »t <
Orchestra Stalls, 7s. 6d.; Balcony Stalls,
from £-i 2s. Commence at 8. *"

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MFERDINAND FULLER has addressed the following ■ letter to the Editor of the Niederrheinuche MusikZeitupff, with reference to a subject which must interest all musical readers :—

"In a note to an account of Beethoven's Fidelia, in Paris, the question is mooted whence Berlioz hit upon the idea of attributing to Beethoven a joke given at lengtli 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 latter— whom 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

expressed deep admiration. Among other things he informed me lhat Beethoven went with him one evening to the Theater an der Wien, when his (Peer's) Leonora was performed. Beethoven, he said, sat next him, and, after repeatedly exclaiming 'Oh, que e'est beau, que e*est inUressant!' at last observed, 'llfaut que je compose etla.' Pucr 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 flora his own lips, is beyond a doubt. Fkrdinajid 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 rudessc humoriste, nor of the "malicious irony " which Berlioz describes: Voire opera me plait, jai envie de le mettre en musique!

Friedrich Treitschke *, at that period stage manager and poet of the two court theatres in Vienna, and who, at Beethoven's request, arranged the libretto of the opera when it was revised in 1814, has written as follows :—

"It was at the end of 1804, that the Baron von Braun, the new proprietor of the Imperial Privilegirtes Theater an dcr Wieu, suggested lo 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 Cliristusam Oelberg {Christ on the Iff ount of Olives), that the composer would produce as great things in dramatic music ai 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 ihe libretto, and selected the French story VAmour Conjugal (by Bouilly), although it had been already set to music by Gavctux, as well as composed, with Italian words, by Paer, under the title of Leonora, both versions being translated into German. Bccihoven did not, however, fear his predecessors, but set, heart «nd sonl, about his task, which was nearly concluded about the middle of 1805."

The first performance took place on the 20th November, under unfavourable circumstances. The nobility had quitted the capital, and the inhabitJints 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 iu Vienn* was it performed? In the autumn of 1798, Gaveaui's Amour Conjugal was produced for the first time iu 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 Mile. Riecardi) 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 eccupied a very honourable position until his death, on the 3rd May, 1839Paer's Leonora, therefore, while he, the composer himseH was in Vienna, can only have been given during the interval between 1799 and 1801 inclusive, or, if not therein 1803, at the beginning of which year, according to Gcrber'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 1808, in Gerber. Leonora is wanting; 1799, Camilla; 1800, GrUelda, H Morto vivo; 1801, Achilles, Poche ma Bone, Der Bravsekopf, Der lustige Schuster; 1802, Vlntrigo amoroso

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

his first opera in Dresden; 1803, Die Wegelagerer Sargino. According to this, Leonora may have been composed in 1802, and produced in Vienna at the beginning of 1803, when Beethoven may have experienced the impression described, have nourished his design till the following year, and then suggested the subject to Sonnleithner for the opera which the Baron von Braun wished to obtain.

THE extra performances at the two Italian Operas continue, and resemble one another. The singers do not 6eem to enjoy them, the public does not attend them, and we need scarcely add, that the managers, to all appearances, lose money by them. Why then do these representations take place? Last Monday, at the Royal Italian Opera, the Puritani, in many respects the most masterly of Bellini's works, was performed to empty boxes—and this at a theatre where the "cast" of the Puritani is as good if not better than could be formed in any other in Europe. To frequent an Italian Opera in England a certain amount of musical taste (due allowance being made for the mere fash ion ableness of a certain kind of amateurism), and a considerable amount of money are required. Accordingly, the operatic habitues of London constitute but a limited class ; .but as this is the class that support Italian Operas, it is to it that the managers of our Italian Opera Houses should appeal. It is easy, no doubt, and, for a time may be profitable, for directors to address themselves to persons outside this circle (as on the extra nights of which we complain), but in the long run any such scheme must be attended with failure. The singers and musicians, by a natural law which makes oft-repeated pleasures no pleasures at all, cease to take interest in an occupation which, from delightful, becomes irksome; the subscribers soon remark the journalier tone which pervades not only the extra, but also the so-called (and justly entitled) ordinary, performances; and suddenly the director is surprised to find that these extra performances represent to him simply an extra lose. They not only fatigue the artists but weary the public, and, as the number of opera-goers is not increased, by them, but rather the contrary, it is somewhat difficult to understand what can prompt managers to persist in giving them.

If questioned on the subject managers would, we believe, reply that an increased number of performances is rendered necessary by their increased expenses, and by the extraordinary number of singers which it is now the fashion at each house to engage. This argument is based, of course, upon the supposition that the amount of money received from the public is in proportion to the number of representations given. We believe any such hypothesis to be false, but it is one that is likely to find, and indeed has found, favour in the eyes of directors. The rival lessees of our two Opera Houses are so determined to ruin one another, that at the beginning of a season each endeavours to cut oft5 the other's supplies by buying up all the singers, from soprano sfogato to basso profondo, that happen to be in the market. At Her Majesty's Theatre, the parts of " Raoul," the "Duke of Mantua," " Almaviva," and "Edgardo," are played by four different tenors. Mr. E. T. Smith does not absolutely want four tenors, but he does not want either Giuglini, Mongini, Belart or the newly acquired Steger to be engaged by Mr. Gye. Mile. Lotti again, and several other vocalists who might be mentioned are chiefly of negative service to Her Majesty's

Theatre; singing there only at long intervals, but prevented by their engagements from singing at Covent Garden. Mr. Smith has a number of artists in his company who are of no use to him, except in so far that by , retaining their services he has prevented them from being of any use to Mr. Gye; and Mr. Gye pursues much the same method with regard to Mr. Smith. This system of management, however ingenious, is expensive, and has moreover this disadvantage—that unless carried out to the fullest extent it answers no purpose whatever. It is of no avail to retain the services of four tenors if there are four other tenors alive just as good — and to engage eight (supposing eight to represent the maximum of really attractive tenors in the world) is what, even in these days of managerial extravagance, no one has yet dreamed of.

In their efforts to ruin one another we are very much afraid the rival impresarii will in the end ruin themselves. On the other hand, if they would pursue an emulative, instead of an envious, line of policy, there is just a chance that both might succeed. We should be glad, for our part, if they would content themselves with engaging small but highly efficient companies, so that, at least, tho apparent necessity would bo done away with of giving these wearisome extra performances.

PRINCE GALITZIN advertises a "Russian Concert" for. the 20th at St. James's Hall, and amateurs of music are asking one another who this Prince Galitzin is, and what this Russian Concert is to be that he proposes to give for the benefit of Garibaldi, and at which the Prince himself is to conduct. Some even go so far as to ask how it is that a Russian nobleman in such a position as Princo Galitzin occupies, ventures to get up an entertainment in honour of a man whom the despotic party in Austria and Russia regard as a rebel and a revolutionist of the worst kind. The late Czar would not precisely have smiled on a Russian prince who had announced a concert for the benefit of Garibaldi; but though the Garibaldi of 1860 is still the Garibaldi of 1848, the Emperor Alexander is not the Emperor Nicholas, nor is the Russia of the present day to be judged of by the Russia of the past reign.

As for the Prince Galitzin, who is to make his appearance on Wednesday at St. James's Hall, he is the son of Princo Nicolas Galitzin, to whom Beethoven dedicated three of his last quartets, and under whom Prince George (he of St. James's Hall) served against us and our quondam allies in the Crimean war. Prince George Galitzin has an estate at Tamboff, and has long paid especial attention to the musical education of his peasants. He himself teaches tho children to sing, and admits those who have attained a certain proficiency into a choir which he has spent eighteen years in forming, and which includes every range of voice from the highest sopranos to lower basses, by at least half an octavo than are met with in this country or in Italy. These picked choristers—of whom, when we heard them four years ago at Moscow there were as many as eighty, of all sizes and ages—arc excellent musicians, and read any part music at sight. That they have a good knowledge of harmony may be inferred from the fact, that they will sing any chord of four notes in any key on the chord being named, and without hearing it struck. This was shown at the time of the coronation of the Emperor Alexander, in Prince Galitzin's house at Moscow, where the Tamboff choir sung various sacred compositions by Mozart, Bortniansky, &c, and afterwards underwent a sort of examination in the presence of Oulibicheff, Josse, the chef d'orchestre of the Theatre Francais, Durand, the organist of the Pantheon, Lablache, Tagliaflco, and a number of other musicians and amateurs. A variety of chords were named, all of which were satisfactorily given-by the singers. The service of the Russian Church is sung without accompaniment, and Prince Galitzin's singers, who are, above all, singers of sacred music, are in the habit of performing without the aid of any instrument. Several times at the conclusion of a long piece the Prince verified the final chord at the piano, when it appeared that, contrary to all precedent, the voices had not fallen even the eighth part of a note.

Another remarkable thing in the performance of these Tamboff singers, is the manner in which, in certain compositions, they do, or rather do not, take their breath. Thus, they will chant the creed or the Lord's prayer from beginning to end without stopping to breathe even for an instant. Such at least is the effect upon the audience; but as the Galitzin choristers live, like the rest of us, by inhalation, we imagine the Prince must have arranged some system by which they take their breath in sections, say ten at a time, so that out of the eighty, seventy only are continually singing.

The advertisements do not set forth explicitly that Prince Galitzin has brought his choristers with him to London; but we know that it was his intention to do so, and if he has left them behind, all we can say is, that he had better telegraph for them to Tamboff without delay.

within the sphere most congenial to his artistic nature, and he does wisely, for in that sphere he stands aloof from competition. It is not intended by this to insinuate that M. dc Meyer would fail if he ventured on higher and more intellectual ground; but at the same time, as sincere apprcciators of his really exceptional talent, we should counsel him to leave the "great masters" (and especially the "old masters ") to themselves ; for, in order to ride comfortably over their domain, he would have to invent a new and peculiar bridle to restrain his Pegasus within bounds."

The Morning Post, without theorising, expresses itself with unreserved enthusiasm about the playing of M. de Meyer at the concert for the benefit of the Eoyal Society of Female Musicians :—

"Of the instrumental performances, uncxecptionably excellent as they all were, Herr Leopold de Meyer's Fanlaisie Originate, composed by himself, unquestionably produced the greatest effect. His ' execution foudroyante'—to use the words of an eminent French critic—seemed to electrify the audience, who listened with evident astonishment to the prodigions tours de force of the Briarcan pianist; and at the termination of his performance gave vent to their delight in a perfect storm of applause, which could only be quelled by a repetition of the entire piece."

We could quote further, but have copied enough to show that when a really clever artist, be he foreigner or be he native, prefers to do no more than he can do to perfection, he may rely upon unanimous acceptance.

MLeopold De Meter's pianoforte-playing seems to • be universally appreciated. Such a result is by no means surprising, inasmuch as he comes forward with ingenuous frankness, and says "Je suis Virtuosect voila tout." To be a virtuose of the first water, however, is no such easy matter, and M. de Meyer is doubtless aware that the way of the nXi/ose-proper, and the way of the "classic"performer (so termed), who gives undivided attention to the old masters, differ entirely. Like two parallel lines they can never meet; or at the best—supposing an idiosyncratic sympathy on the part of the virtuose towards the "classic" style, or on the part of the "classic" towards the brilliant mechanical feats of the virtuose—they may be compared to the asymptotes of the hyperbola, which, though continually approaching each other, can never by any possibility come into actual contact. A critic in The Times (apparently a new hand), writing of M. de Meyer's performance at Mad. Anichini's recent concert, would seem to entertain this opinion, to judge by the tenor of some of his observations :—

"Among the instrumental pieces was a grand fantasia, for pianoforte alone, composed and performed by Herr Leopold dc Meyer, pianist to the Emperor of Austria, and in his particular walk, the most extraordinary ' manipulator' now before the public. This gentleman combines a force and vigour of hand, which few have equulJed, with a delicate lightncsB of touch and liquid softness of tone that have never been surpassed. He brings these opposite qualities into play with marvellous address, blending or alternating them as the humour seizes . him, and with such consistency that, while the ear is always satisfied, the taste is never offended. M. de. Meyer'sybn/asia-playing, moreover, —like his music—is quite as original as it is astonishing. He hns a vein exclusively his own, and is indebted to no other source than that of his invention, whether for ideas or lor the method of handling them. Making no pretence to be an exponent of what is conventionally termed the 'classical' school, he does not provoke criticism by an imperfect conception and execution of acknowledged masterpieces. He

THERE has just been founded in Russia an institution which does honour to that country. The Gazette du Nord published in its last number but one, an account of the situation of the Fund for the Relief of Literary Men and Savants in Russia. This society, established only a few months by the (lite of Russian authors, and by the directors of the principal papers and reviews, is not, the Gazette du Nord says, a mutual benefit society. To share in its advantages, it is sufficient for any one to be a literary or scientific man, to be presented by a member, or merely to write to the Committee. Widows and orphans also have a right to assistance. A great degree of eagerness, exceedingly honourable to the national character, has been manifested among all classes to aid the Society in carrying out its proposed aim. The Emperor and his family have been pleased to put their names down for an annual subscription of 1,300 silver roubles, 240/. The most celebrated literary men have engaged to give a certain per-centage on the produce of their works ; several artists have done the same; and the directors of the principal reviews have resolved to pay the Society a fixed royalty on every subscription to their publications. Some well-known publishers have entered into a similar agreement for the works they may bring out; and many private individuals, connected neither with literature, science, nor art, havo liberally contributed to show their wish for the diffusion of knowledge, as well as their respect for those who devote themselves to it. The Society has already been enabled to grant annual pensions to the amount of 2,160 silver roubles, 365/., and to distribute in the form of temporary aid, 1,300 silver roubles, 208/. The capital, which, on the 2nd (14th) February, was only 8,536 silver roubles, 1,365/., at present amounts to 18,236 silver roubles, 2,918/. The number of members is 407. M. Sasonoff announces that the Gazette du Nord has opened, in favour of the Literary Fund, a subscription list, and invites not only his compatriots in Paris, but every one interested in the cause of liberty of thought, to contribute to it.

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