MISS EMILY GRESHAM, Soprano. — Letters repecting engagements for oratorios and concerts, to bo addressed, 20, Alfrcd'Buyswater. W.

GLEES, MADRIGALS & OLD ENGLISH DITTIES. —Egyptian Hall, Piccadilly (Dudley Gallery).—In consequence of the very distinguished and Increasing success which continues to attend the performances of the London Glee and Modrigal Union, they will repeat their entertainment under arrongemen with Mr. Mitchell, this and the ensuing week. Evory evening at half-past eight; and oa Monday, Wednesday and Friday mornings, at half-pttst two. Conductor, Mr. Land. Literary illustrator, T. Oliphant, Esq. The programme will include old cnglish ballads, catches, madrigals and glees, by ancient and modern composers. Reserved Eeats, 3s.; unreserved, 2s.; a few fauteuils, 5s.; which may be secured at Mr. Mitchell's Royal Library, 33, Old Bond-street.

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0 THE BENEVOLENT.—The lamented death of the

late Mr. William Appleby, for thirty years the faithful and devoted servant and foreman to Messrs. Davis and Phillips, of 25, Berwick-street. Music-printers, calls for the sympathy of those benevolent friends and the public, who may be kindly disposed to aid by thoir contributions in support of his two female orphan children, left totally unprovided for, and in repayment of tho funeral expenses incurred. The loss of Ids wife and two other of their children in one week, after a long and serious illness, attendant with hoavy medical, funeral, and family expenses during sickness, so reduced his means and crushed his spirit, that eventually his health sunk, \iuder the heavy load of his troubles and affliction, until he died, in the very prime of his manhood, leaving two female orphan children destitute, for whom the generous support of his friends and tho public is earnestly solicited, In endeavouring to raise a sufficient fund, to be placed in a Savings' Bank, in tho charge of competent trustees, for their future benefit and support. Contributions thankfully received by Messrs. Davis and Phillips, 25, Berwickstreet Music-printers; W. Lovell Phillips, Esq., 67, Oakley-square; Mr. W. AlstoD, 7, Sutherland-place, Eccleston-square f Mrs. Davis, 67, Oakley-square; W. Edwin Alston, Esq., Union Bank of Loudon, City; and by such other ladies and gentlemen who may kindly feel an interest in endeavouring to obtaiu the same.

PIANO, GUITAR, and BANDOLEAN.—A Gentleman wishes to receive Three Lessons, weekly, upon the above instruments. Send the lowest terms per quarter, by letter only, which must be very moderate, to W. Wallace, Esq., Cannon-row, Pari lament-street.

WA NTED, a situation as Organist, by a voting man, aged 22, capable of conducting i small choir. Good testimonials. Nearly

1 ^yeur- in his List appointment. Address, stating salary, to II. M., Pagett's

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Bromp ton-road, S.

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MUSICAL DIRECTORY, REGISTER & ALMANAC FOR I860.—Contents: Almanac with musical data; list of musical societies throughout the kingdom; musical transactions of the past year; names and addresses of professors, music-sellers and instrument makers; and li-t of music published between tho 30th November, 1858. and :10th November, 1859. Price Is. «d. ; per post. Is. 8d. Publishers: Rudall, Rose, Carte and Co., 20, Charing Cross, S.W. ; nnd Keith, Prowsc and Co., 43, Chcapsidc, E.C.

FERRA RI'S WORK ON THE VOICE AND SINGING, price 8*., may be had at his residence, Dovonshire-lobgc, Portland-road. Pottland-place, and at all the principal music-sellers.

•* Of all the treatises on the cultivutlon of the voice that have appeared for nta^y years, it is the most scnMfile, concise, and useful."—Dnitit Netn.

"There is more sense in this work than wo find In nine out of ten publications of a similar kind."—AtAtnantm

*' Hero is a really sensible work."—Mimical World.


RIFLE CORPS.—Booscy and Sons

nents. reed and brass, as well as bugles, drums and
proved of by almost every regiment in the service, at
-egtmcnts that contemplate the formation of a band,
no. who will bo
ty further


id thorn competent required.—Booscy

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Chas. Doyle—Principal.
M. Olanville.
W. H. Webb.
H. J. Trust.
J. Thompson.
H. Tothurst,


Goo. Collins—Principal.
Horatio Chipp.
W. F. Reed.
W. Aylward.
Henry Goodbon.
J. R. Gough.
R. Reed.


J. Howc'l—Principal.

F. S. Pratteu.

G. Mount.
Charles White.

J. C. F. Beresford
C. J. Harper.

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J. A. Owen.
Joseph Riddle.


John F. Hutching.
Houry Smith.

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T. Harper. R. Ward.

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Mr. A. J. Fhasey.


Mr. H. J. Trust.


Mr. T. P. Chipp.


Mr. Walter Hiuchcy,

Analytical Programmes by

DESMOND RYAN, ESQ. Aocompanyist—HERR EMILE BERGER. Organist—E. T. CHIPP, Mus. Bac, Cantab.

Librarian—MR. GODFREY Rodwell. Treasurer—Mr. JOSEPH BRAHAM.


Tn presenting this prospectus, (he protectors of this Association deem it worthy of remark that a groat want is felt by a countless number of amateurs possessing musical knowledge and capability of a society which would afford them ample opportunity of acquiring, at a moderate cost, a complete knowledge of the beauty andgrandeur of tho choicest and recognized orchestral compositions of this and previous periods.

Tho object of this Association is to bring together tho amateur instrumentalists of London and its suburbs, tor the practice and performance of oratorios, masses, cantatas, symphonies, operatic selections, and ovortures, including compositions but little known to the general public, with other chef-d'eeuvros of the great masters, suitable for baud and chorus conjointly or separately.

For the benefit of the amateur department, woekly rehearsals will be held on overy Saturday Evening, at Eight o'clock, at the Architectural Gallery, 9, Conduit-street, Regent-street, and during tho season, concerts will be given at one of the Targe theatres or concert-rooms, with the important assistance of the honorary professional members, and in conjunction with the chorus, as soon as the necessary proficiency is attained.

In the profees onal department there are still vacancies for honorary members for the following instruments:—Four first violins, one second violin, and two violas.

All communications to be addressed to the Honorary Secretary of the Loudon Orchestral Association, 9, Conduit-street, Regent-street, W.

H. J. BRAHAM, Hon. Sec.



Sib,—Can you, or any of your readers, inform me whether the chord of the£ is rejected hy the strict church writers or not, except in cases where it is used as an appoggiatura, or where it comes in a cadence on the dominant, followed by the $ which is its resolution?

I was present, not long since, at the opening of the St. — church, Newcastle, where full choral service was rendered by the choir of St. — church. A responso in the Litany, "Good Lord deliver us," began on the chord of the J, on the dominant, in the key of E minor. I listened and listened again, for I thought the basses must have been refractory, but there was no mistaking it.

Farrant in his anthem, "Lord, for thy tender mercy's sake," has several times avoided this chord, and even modern composers use it very carefully, never without preparation. I never heard of any composer violating the rule, that "no composition must begin or finish on the chord of the J."

I beg you will pardon my trespassing on your valuable space, but your willingness to assist in the diffusion of musical knowledge encouraged me to ask this question, in the hope of its being useful, not only to me but to others.

I am, sir, yours respectfully,

A School-boy.

[Beethoven begins and ends the slow movement of his seventh symphony—in A—with the chord of the six-four.Ed. M. W.]


Sib,—I trust you will pardon the liberty I have taken, but having seen a notice in your publication of the 7th, mentioning the names of the gentlemen of the choir of St. Georgo's Chapel as having the honour of singing before the Queen and court at Windsor Castle, on the eve of Christmas Day, I find my own name omittod. I trust yon will kindly correct the error, aa I was present on that occasion. I remain, sir, your obedient servant,

Joseph Adams,

Cloisiers, Windsor. Lay Clerk of St. George's Chapel.


The concert on Monday last—the eighth of the season—was dedicated in the vocal part to Beethoven. The selection, we need hardly add, was first-rate. Let the programme show :—

Past I.

Quartet in E flat, for two violin?, viola, violoncello Mendelssohn. SoDg, "Andenkcn" ... ... ... ... ... Beethoven.

Song, "Hope" ... ... ... ... ... Beethoven.

Sonata in B minor, Op. 40 (first time) ... ... Clementi.

Part II.

Sonata in A major, for pianoforte and violin ... Mozart.

Lieder Eranz ("Lover to his Mistress ") Beethoven.

Song, " Know'st thou the land," Madame Lemmens

Sherrington ... ... ... ... ... Beethoven.

Quintet in F minor, for pianoforte, two violins,

viola, and violoncello, (first time.) Dussek.

Conductor—Mr. Benedict.

The executants in the quartet were Herr Becker, Herr Ries> Mr. Doyle, and Signor Piatti, who almost surpassed themselves in the performance, and really did so in the scherzo, which was in every way incomparable. The artists in the quintet were Mr. Charles Halle, and the quartet of "strings" just named. This glorious composition of the old master—not quite so fashionable as he might be; but, thanks to the directors of the Monday Popular Concerts, now likely to become fashionable— was hailed with boundless delight by all the amateurs present. The execution was admirable. Mr. Hall6, in dementi's very gTand sonata—another novelty—played with great power and expression, and achieved an immistakeable triumph.

Madame Lemmens Sherrington and Mr. Sims Reeves were again the vocalists. Beethoven's two songs are hardly in their manner suited to the lady's brilliant style; nevertheless, both were artistically given, and "Know'st thou the land," was most charmingly sung. Mr. Sims Beeves is at home in all sorts of music. He sings Handel, Mozart, Haydn, Beethoven,

Mendelssohn, Bishop, and Balfe, with equal discrimination and equal effect. On Monday night last, one might have supposed that his special mission was to interpret Beethoven's music and no other. More magnificent singing we never heard from any tenor than in the Lieder Kranz, which literally made the audience tempestuous in their delight, and induced the singer to return to the platform. The "Hope " song, also most exquisitely rendered, resulted in a recall. In the Lieder Kranz, Mr. Beeves was accompanied on the pianoforte by Mr. Charles Halle. Mr. Benedict accompanied Mr. Beeves and Madame Lemmens Sherrington in the other sougs.


Miss DoLBr is always early in the field with her annual concerts; and, indeed, of lato years we have been accustomed to look upon her so trees as the veritable dawn of the season proper. The season, therefore, may be said to have been inaugurated with special brilliancy on the evening of Tuesday, the 10th instant, at 2, Hinde-street, Manchester-square, the private residence of Miss Dolby, when the following admirable programme was given:— Past I.

Quartet in G major, Messrs. Sainton, Bezeth, Doyle,

and Paque "... Haydn.

Aria, "Cangio d' Aspetto" (Admetus), Miss Dolby Handel.
Solo, pianoforte, Miss Freeth.

Song, "The Pilgrim," Miss Dolby J. M. Mudie.

Fantasia, violin, Solo de Concert, M. Sainton ... Sainton.
Pakt II.

Trio in B flat, Op. 97, pianoforte, violin, and violon-
cello, Miss Freeth, M. Sainton, and M. Paque ... Beethoven.
Serenade, " Sleep, dearest, sleep," Miss Dolby ... llandegger.
Solo, violoncello, M. Paque.

Scotch Song, "Here about, and far awa," Miss
Dolby Old Air.

Duettino, violin and violoncello, "Mira la bianca
luna," M. Sainton and M. Paque ... ... ... Rossini.

At the Pianoforte—Herr Meyer Lutz.

With four such sterling performers the fine quartet of Haydn could hardly have been executed to greater perfection. M. Sainton, who possesses that peculiar gift—bestowed on none but the most accomplished artists—of adapting himself to the style of the composer he is interpreting, without losing his own specialty and individuality—led like a giant of the instrument, and seemed to inspire his coadjutors—all men and true—with his own fire and enthusiasm. The trio of Beethoven exhibited a decided improvement in the young pianist, Miss Freeth, the talented pupil of M. Alexandre Billet, and excited even a more marked sensation than the quartet, attributable in a great measure to the pianoforte being the instrument of predilection to the majority of Miss Dolby's visitors. Miss Freeth, with her talents, aided by zeal and perseverance, cannot fail to make her way with the public; nor need her friends have recourse to laudatory advertisements to notify her capabilities.

M. Sainton's performance of his own popular fantasia, " Solo de Concert," was inimitable as a bravura display, and excited the utmost astonishment and delight.

The duettino for violin and violoncello—founded on that favourite and most charming duet, by the author of the Barbierc, "Mira la bianca luna," which on two occasions created so great a sensation at the Monday Popular Concerts—constituted an excellent show-piece for both violin and violoncello, in which M. Sainton and M. Paque, both Frenchmen, demonstrated in an unmistakeable manner their feeling for Italian sentiment.

Miss Dolby's four songs were skilfully chosen to exhibit her versatility. Handel's song has been always one of her finest performances, and we do not remember having heard her sing it more splendidly, or with more legitimate effect, than on Tuesday evening week. Handel himself would have been more than satisfied. "The Pilgrim" is a charming song, written in Mr. Mudie's most expressive style, and promises to become a favourite, more especially if recommended by the fair artist's singing. We have before pronounced Miss Dolby's warbling of Herr Kandegger's " Serenade," incomparable. It is, indeed, one of her most perfect efforts. The poetry of the Scotch song has been -written by Mr. T. Oliphant in praise of Burns. Sweeter tunes we have heard, and verses of greater pith, though these are by no means devoid of sentiment; but Miss Dolby's fine singing would have rendered acceptable a ballad of far leas pretensions.

The rooms were crowded by an elegant and fashionable assembly, who appeared throughout to enjoy the refined and admirable entertainment provided by the gracious hostess.

The second and last soirte takes place on the 31st instant


St. Martin's Hall.—Whatever may be said of the merits of Haydn's Creation as an oratorio, one thing is quite certain, and that is that it has the power of attracting and delighting vast numbers of people ; and, if any proof were wanting to confirm this idea, the densely packed crowd of Wednesday last would be sufficient evidence. Not only was the building crowded almost to suffocation, but hundreds turned away, money in hand, unable to gain admission. No doubt the names of the principal singers had no small share in the attraction, for the announcement of such artists as Mad. Lemmens Sherrington, Mr. Sims Beeves, and Mr. Weiss is a guarantee for a performance of the highest efficiency. Nor were the hopes of the audience doomed to be disappointed, for all concerned exerted themselves to the utmost, and, consequently, the highest satisfaction was afforded. Frequently as we have had to speak of Mad. Lemmens Sherrington in terms of warm praise, we have never heard her to greater advantage than in the light, elegant, and florid music of Haydn, which shows all the best qualities of her voice and powers of execution to perfection. '' With verdure clad," of course drew forth rapturous applause, and some considerable attempts at an encore, wisely resisted. Even stronger efforts were used to induce Mr. Sims Beeves to repeat the air "In native worth," but a politely bowed acknowledgment was the sensible response to the compliment. Mr. Beeves seems, if possible, to be singing more magnificently than ever, and was as enthusiastically received and vigorously applauded as at Exeter Hall on Friday. St. Martin's does not promulgate the same edict as Exeter, and perhaps Mr. Hullah is wise in his generation, for after all if an audience thoroughly enjoys a thing, solo, chorus, or whatever it may be, they will applaud, despite all laws, provided the performance be in a secular building; although we have heard at the festivals of the chorus, the murmured audible sensation involuntarily bursting forth after some grand display, so carried away by enthusiasm as to forget that a cathedral was the scene of triumph. Mr. Weiss is thoroughly at home in the bass music of the Creation, and gave the recitatives and airs, especially "Boaming in foaming billows," with great energy and musicianlike feeling, and was warmly applauded. Miss Gray (a pupil, we believe, of Miss Baiuforth's) appeared in the third part, joining Mr. Weiss in the duets, and singing the recitative, " O thou for whom I am," in a style that gained the approbation of the audience, especially after "Graceful consort." Band and chorus rendered ample justice to their task, and drew forth their share of the popular suffrages—" Awake the harp," "The heavens are telling,/'and "Achieved is the glorious work"— coming in for the largest portion.

Myddleton Hall, Islington.—Mr. Lazanis gave his first concert in this neighbourhood on Tuesday last, and was honoured with a crowded audience—by no means a common occurrence, we believe, in the North London district. The programme was of a miscellaneous character, chiefly abounding in solos, and by no means of the class to which the Monday Popular have accustomed us. Nevertheless it appeared to afford high satisfaction, if we may judge from the hearty applause with which every piece was received. In addition to the bineficiaire, whose name itself would be a powerful attraction, Miss Dolby, Madame Louisa Vinning, M. Sainton, Mr. Winn, &c, were engaged, besides which Mr. Lazarus's daughter also contributed her aid in a pianoforte solo on Dinorah, a duet and trio with her father, and a song. We do not know whether this young lady is destined for a piauist or vocalist, but would strongly recommend the former, as, although yet very young, she evinces ability and intelligence which may enable her with careful study to do

better things than sing a third-rate ballad, or play a fantasia on operatic airs. There is plenty of good music for the piano, which will serve as a far better school either for training or display than the mere show-pieces which are but too much the fashion. Miss Dolby and M. Sainton both evoked the warmth of the audience, the former being encored in one of her songs. Mr. Guest (violoncello) joined Mr. and Miss Lazarus in the trio, Beethoven in D. Miss Harrington, Mr. Suchet Champion, and Mr. Lester, sang various solos of the popular (not " Monday ") stamp, and Mr. Winn was encored in the old English air " Come lasses and lads." Mr. Lazarus gave only one solo (modestly placed in a very bad position, nearly at the end of a programme already too long), but played in such a style as fully to justify us in endorsing the opinion of a contemporary just given, that, on the clarinet, he is undoubtedly the first artist, not only in England but in Europe. Mr. C. Severn, of the Opera and Philharmonic bands, and organist of St. Mary's, Islington, made a most efficient conductor and accompanyist.

Sacred Harmonic Society.—A more unexceptionable performance has seldom been listened to than that given at Exeter Hall, on Friday se'nnight, to an audience which literally crammed the building to overflowing. The oratorio was Handel's Samson, with Mr. Costa's additional accompaniments. With respect to Samson (commenced eight days after the completion of The Messiah, and finished in five weeks), the immortal composer confessed he did not know whether or not he preferred it to The Messiah. Nearly one hundred and seventeen years have elapsed since its first production at the Theatre Boyal, Covent Garden (Feb. 18th, 1743), and so little attention was then given by the Loudon journals to matters musical, that not one word was said by any of them, of either Samson or The Messiah, produced during the seasons '42, '43. Now the case is very different. Half a score newspapers proclaim the fact to every breakfast table the following morning, and twice-a-score weeklies announce all particulars for the edification of readers by the million. Compare again the number of performances. From 1743 to Handel's death in 1759, he only gave one hundred and ninety-two performances, among which The McssiaJi, Judas, and Samson count for eightyseven. It would be hard to say how many performances of Handel's oratorios have been given during the last sixteen . years; but amongst all of them it would be difficult to find any that have afforded more unequivocal satisfaction than that on Friday week last.

To Mr. Sims Beeves must be assigned the place of honour, sustaining as he did the part of Samson in a manner impossible to praise too highly. His rendering of "Total eclipse" was most pathetic, and if ever artist did justice to "immortal music married to immortal verse," it was upon this occasion. What the original tenor in Handel's time— Mr. Beard—was, we have no means of ascertaining, but with the remembrance of the elder Braham yet in our minds, we must award the palm to Mr. Beeves. No less admirable was his singing "Why does the God of Israel Bleep," and the air "Thus when the sun." The recitatives and duets, not the most grateful in all cases, were delivered in a style equally irreproachable, and throughout the frequent applause testified that the audience thought a deal more of Mr. Beeves's singing than the Exeter Hall regulations, which are supposed to forbid all demonstrations of the kind. In other instances the rule was set aside, for there were two encores—one to Miss Banks (who has hitherto been heard only at Mr. Hullah's), in "Let the bright Seraphim," the matchless trumpet obbligato accompaniment being played by Mr. T. Harper, as perhaps no other artist living can play it, and the other re-demand to Signor Belletti in "How willing my paternal love." The young lady, upon whom the entire weight of the soprano music rested, may be congratulated upon her successful debut at Exeter Hall, for, although evidently at first suffering from nervousness, she regained her courage, and was enabled to display her clear and telling (though not powerful) voice to decided advantage; the trying air above named showing executive powers of no mean order. Miss Dolby's artistic excellence was never shown to greater perfection than in the contralto music; while Mr. "Weiss's fine voice and vigorous declamation did excellent service, and evoked loud plaudits, in the energetic air "Honour and Arras," dividing the suffrages 'with Mr. Reeves in the duet "Go, baffled coward." To Signor Belletti must also be given the highest commendation for bis artistic conception, and no less artistic delivery of all the music assigned to him, and especially of the air which was redemanded. The band was thoroughly up to its work, while the chorus, with one or two exceptions, went admirably, both showiug the invaluable result of constant training and practice. The next performance will be on February 3rd, when Mendelssohn's Song of Praise, and the Detlingen Tc Deum will be given, with Madame Clara Novello, Mr. Sims Reeves, &c, as principals.

Mb. Asd Mns. Howaed Paot's Enteiitainment.—Campbell's American Minstrels have been succeeded in St. James's Hall by Mr. aad Mrs. Paul's cleTer and amusing Patchwork, which is now quite established in public favour. Every night finds the room filled by an elegant audience. Among Mrs. Howard Paul's new characters that hit the popular taste, we may mention that of an Irish nursemaid, who, while rocking her young charge to sleep, recalls to mind that sho has a sweetheart, a drummer, who, before he went to join his regiment in India, leaves her a few keepsakes, including an old drum, an old military coat and hat, kc. (what was his colonel about, to let him give away his "perquisites" so freely?), in which the fair daughter of the Emerald Isle soon equips herself, and then sings a Bong in praise of a soldier's life. Mrs. Paul gives this with such archness, and accompanies herself on tho drum so capitally, that the audience nre fairly tarried away, and the burst of applause that follows is richly merited. Mrs. Paul also sings (in imitation of Mr. Sims Reeves) Mr. Balfo's new song of " Margoretta." Mr. Howard Paul, in his impersonation of a goa-head Yankee, sings a "patter song," <i la Charles Mathews, with extraordinary volubility. Patchwork conoludes with a "danse ties folles," by Mr. and Mrs. Paul, which has but one fault, that of being too short. One of the most remarkable features of the entertainment is the very rapid way in which the changes of costumo arc managed.

Manchester.—At the last Monday Evening Concerts, Miss Banks was unable to sing from indisposition, and Miss Susannah Cole was substituted. The patrons of the Free-trade Hall bad no cause for disapjiointment, if we may judge from the following account, which we transcribe from the Manchester Times of Tuesday last:—

"In consequence of a telegram announcing the indisposition of Miss Banks, the director was fortunate enough to meet with Miss Susannah Cole, a young vocalist who made a first, appearance in Manchester. We venture to prophecy that it will not be the last. Miss Colo possesses a pore soprano voice, soft and fluty iu quality, with considerable facility of execution, and she gives decided evidence of careful cultivation. In Rossini'B'Di Piacer' she was rapturously encored. In 'Tho beating of my own heart,' thero was shown good taste; and in the popular 'Shadow Song,' from Dinorah, a decided brilliancy of execution."

Miss Louisa Pyne and Mr. W. Harrison are announced to appear at the Free-trade Hall on Monday.


Bebiin(From a Correspondent).—In my last I omitted a musical event of very considerable importance, to wit, a very clever organ performance by a young English—I beg pardon—American gentleman, of remarkable musicol abilities. The novelty of seeing an English name "in print" out hero, and particularly where musical execution is concerned, induces me to send you the programme.

1. Prelude and Fugue (in G minor) J. K. Paine.

2. Choral varied: "An Wasserflttssen Babylon" Seb. Bach.

3. Trio Sonata in C (For two keyboards and pedals) „

4. Toccata in F ... ... ... „

5. Trio Sonata in E flat... „

G. Chromatic Fantasia (in A minor) ... ... Thiele.

The first piece proves Mr. Paine to be not only a player, but a thorough comprehender of the king of fugues. Tho subject* are well chosen, and treated with all the skill of on experienced contrapuntist. Thanks to Mr. Best, it is not requisite to say a single word of tho four numbers by Sebastian Bach, but I cannot resist just saying that the varied chorale is most surpassingly beautiful. Of the Fantasia by Thiele, much might be said if space were granted me. This not being the case, however, I must content myself by paying that it is a work of as gTeat beauty as talent and invention. Thiele ia.a name quite unknown in England, if 1 mistake not. This is not much to ho wondered at, for, were we to ask a hundred persons iu

Berlin who he was, the probability is that no single individual would know. Like many talented men, he diod young, very young, but not before he had raised himself to the highest point of his profession. As a practical and theoretical musician he had few rivals. His compositions bear the stamp of immortal genius, such as tho gods vouchsafe but seldom to man. His profundity was only exceeded by his inventive talents: the fact that the great Bernhardt Klein was his instructor guarantees tho solidity ot his acquirements. Had he not had so excellent a preceptor his vivid and unbounded imagination might have led him into extravagances, such as, in later days, have tried hard to create a sensation in the neighbourhood of Weiraor. Even Bach himself does not surpass him in effects powerfully sublime.

Ono chromatic passage in contrary movement, with full chords and pedals, had an unspeakably powerful effect. It was, indeed, sufficient to melt the soul in extacies! Mr. Paine's playing was perfection: the resonance, however, marred the effect greatly. If I am rightly informed this young gentlemen will pass through England on his way home, aud I hope most devoutly he may make the acquaintance of our best player and the incomparable Liverpool organ. It is to be feared, however, that considerable delay in his departure would ensue if he once gave the Lilliputians an opportunity of hearing his superb playing. He is a pupil of the well-known Haupt of this city, and, if that veteran is not proud of his pupil, ho ought to be. The learned Belario might say of Paine: "I never know so young shoulders with so old a head."

Were it possible to sond you a daily letter, it might be possible to give you an idea of all the musical events which transpire in this most (musically) favoured city. This very evening thero ore threo very attractive concerts, and Don Juan at the opera, besides an Italian version of the Barbiere at the newly-opened Victoria Theatre, and unnumbered musical attractions elsewhere of a less select character. Of recent events, the chief are as follows:—The performance of Bach's Christmas oratorio by the Sing-akademic. As I premised, at the rehearsal the effect produced was not near so great as that by the mighty Q-,mass, or the Passion music of the same master. It cannot be denied that there are many great beauties in the work; that some of the choruses are not a whit less majestic than tho grandest of the masters; yet it is equally incontrovertible that a character far too secular pervades many, if not most, of tho pieces. If a composer's works—and unquestionably they are—be influenced by the humour in whioh their author writes them, what a really merry one must Bach have been in when he wrote much of tho work in question! I will only mention the freaks he has taken with the trumpets. Goodness save me from having to blow principal trumpet in Bach's Christmas oratorio! Could any of your readers have seen that worthy member of M. LieleysS band at the memorable performance, he would most certainly have said, "Amen!" to my petition, with all brief and due conveniency. The lovely pastoral symphony is certainly the gem of the whole work, and bears remarkable similarity to Handel's pastoral: had the two masters not have been contemporaneous and unknown to each other, ono of them would most surely have been accused of plagiarism. Generally speaking, perhaps no two great musicians are more widely different in point of style; but in this particular pastoral Bach has descended one step from the coldly classic, approaching, in so doing, the majestic heights from which Handel surveyed the insignificant ordinary world with disdainful eye, yet sympathising heart.

The next in importance comes the performance of a cantata of Bach's, and "L'Allegro" of Handel, by the Bach society, under Herr Tierling's direction. The cantata, Werdaglaubt, is one of those immense works of Baeh which he wrote every week for performance on tho Sunday then following. It contains one masterly chorus, and a finely scored chorale. Bach's hand is written on every page of the score. No one else could have made so much from such little means. I will dismiss Handel by saying that he is unquestionably much better understood iu England than here, at any rate judging from this performance in question. There was first of all a want of right conception of many of the pieces, and, secondly, a WBnt of firmness in the conductor's hand. Such an unsteady performance I should not again like to hear. The solo singers (Madame Tuciek-Herrenburg, and Messrs. Krause and Osten), did all they could to redeem the affair, but signally failed. There was no fiasco, properly speaking, but just such an unsatisfactory performance as might be expected when there is no decisive wielder of the baton. Herr Vierling is one of the best composers living, and as thorough a musician as Germany possesses at this moment; but he is not fit to conduct, nor will he bo till he rids himself of his nervous irritability.

At a concert of Madame Burchard's a new oratorio was performed (Solomon's Song), by the respected veteran, Dr. Lowe, who came expressly from Stettin to conduct it. I could not attend the performance, oml can only record the fact that while the critics here give the learned Doctor credit for the most consummate skill in writing ballads, they do not seem struck by his latest oratorio, nis earlier works (purely vocal oratorios) seem to be almost entirely forgotten. His ballads are the most popular in Germany, and deservedly so. How many of our ballad fabricators have studied him to advantage, I hardly dare venture to think of.

The last symphony concert of the royal band was also not without its novelty. This was a symphony from the prolific pen of Niel Gade, en tilled, "In the Highlands." It is characterised by more peculiarity than beauty, and more noiso than either; there is, however, much beautiful music in it, and it would reward the labour of sifting and dipping. Of virtuosi, there has been no lack. Of violinists alone there have been four: David (from Leipzig), Vicuxtemps, Ruppoldi (Vienna), and a young Moldavian named Candle —no, Candella! Vicuxtemps carried away the palm. Nothing could surpass his faultless execution and his decided good taste. He never failed to crcato a furor. As I hear, bo is now taking his last farewell of the public. Ho starts for St. Petersburgh in a few days. Could he not be induced tc pay London also a farowell visit? See to it, Mr. E. T. Smith. There has been a wondrous succession of novelties at the Opera: Iphigenia, Idomeneo, Lohengrin, Jessonda, La Favorita, TannMuser,* and, last, but not least, Gluck's ■incomparable Orfeo. Johanna-Dachman Wagner played superbly, but, alas! that once magnificent voice, whero is it? Alas, echo answers whero? As coming events cast their shadows before, I may safely predict the temporary retirement of this lady from the stage. Need I say another word? Two, I may say three, events of quite a festive character have also taken place at the Opera-house The first was the marriage of the fascinating young and talented prima-donua, Friiulein Wippern ; and the second, in the celebration of the completion of a half-a-century's service on the boards of tho Opera by Herr Zsehiescfe.f Well-merited honours were paid to tho worthy and much-estfemed veteran, not the least of which was a letter from tho Prince Regent's own hand, conveying something more than mere thanks. It is gratifying to see what a lively interest the new premier takes in matters of art. This morning's Voss announces tho fact of H.R.H. having conferred the honour of the Red Eagle on two worthy musicians —the one an organist, the other a singer. After such facts as these, why will people persist in asking if Germany cares any moro for her "art-treasures" than England does for hers?

The third event was a similar tributo of respect paid to the veteran coutrabassist, Herr Schlechte, who joined the ranks of the present Opera at the same time as Herr Zschiescfe. May they both livo long and happily to enjoy the benefit of well-earned repose.! The new opera by Graf v. Redern is in active rehearsal, and will, I believe, be performed for the first time next week. Hope to send a detailed account of this long-expected and much-talked-of work in my next. Our Princess attended the performance of Shakspere's' Midsummer Night's Dream the other evening, and I must say looked perfectly blooming with health. Her embonpoint was the subject of general remark. H.R.H. attended service at tho English chapel on Sunday last, when Boyco's "Te Deuin" in A was sung for the first time. It "went" in a most creditable manner, without men's voices, however, be it remarked.

I caunot close without calling your attention to an error which crept in my last (p. 780, vol. 37). The "R. I. P." I had appended was simply intended for the benedictory "Requiescat in pace;" for poor Wolff, who foil gloriously at Solferiuo, and was not at all intended to convey any idea of your correspondent's initials, his name being, as every one knows, simply Jonss.

Cologne.—The fourth soirle of chamber music, on Tuesday, the 10th instant, was very well attended. Both the programme and the manner in which it was executed gave general satisfaction. A quartet by Haydn, in D major, and a qurtet in D minor, by Franz Schubert, were excellently played (first violin, Herr Grunwald); although the many separate beauties of Schubert's composition, especially the variations of the andante, wero fully appreciated, Haydn's quartet produced a greater impression of completeness and unity. Why? Because, in it, invention and character are combined with perfect artistic form, each being thoroughly imbued with the other. The interest of the evening was greatly enhanced by the performance of MM, Hiller and Grunwald, on the pianoforte and violin, first of the graceful and dreamy sonata in G major, Op. 96, by Beethoven, and then of three pieces from the

Canonical Suite for Pianoforte and Violin, Op. 86, by F. Hiller, No. 5, andante canon, on the fourth—No. 6, menuetto canon on the fifth—No. 7, alia tarantella canon, in the sixth. In these compositions, the melodious matter and charm—and the strictly canonical form—at one time modulated between violin and bass, at another between treble and violin, and then between bass and treble of the pianoforte — are connected in so masterly a manner with each other, and, at the same time, such a different character is impressed on each separate piece, that the layman is delighted with the musical thoughts, and is hardly aware of the way in which they are intertwined, while tho musician enjoys the double pleasure produced by the said thoughts, and the artistic, most skilful, and in no wise stiff and scholastic, although perfectly normal and contrapuntal, mode in which they are worked out. They are small gems in a style of composition which musicians are not so often found attempting now-a-days.

The pianist, Hans von Biilow, is now on his way from Berlin, vid Basle, to Paris, where he will give a series of soirSes in the Salle Pleyel. In the beginning of February he will perform here, at the second concert of the Miinnergesang Verein. The last concert in the Gurzenich, on Tuesday, tho 17th ult., was rendered especially brilliant by the co-operation of Herren Joachim and Niemann, from Hanover. In addition to this, a new symphony by Gade, and Mendelssohn's Psalm for two choruses and orchestra, were performed.

According to report, Mad. Clara Schumann is expected, in February, at Vienna, where she thinks of settling permanently.

St. Pbtebsbtjhoh, January 3rd.(Prom a Correspondent.)—On Saturday, tho 3lBt December, Don Giovanni was performed, for tho benefit of Sig. Debassini, to a house crammed to the ceiling. Several members of the imperial family honoured this solemnity with their presence, and frequently "gave the signal for applause. It is true, however, that the flower of the Italian company interpreted Mozart's masterpiece, and the Italian theatre of St. Petersburgh is, perhaps, the only establishment of the kind in Europe which can show such an array of talent. Mad. Lagrua, in the part of Donna Anna, did not belie tho high opinion she inspired at her very first appearance; her entree was superb, and in the air which follows, in her duet with Ottavio, as well as in the trio of tho masks, rendered with a perfect ensemble by herself, Tamberlik, and Mad Bernnrdi, and enthusiastically encored, she exhibited a superiority, which obtained for her numerous recalls. Mad. Charton-Demeur, in the character of Zerlina, was exceedingly graceful, and sang deliriously—tho consequence being that the audience insisted on her repeating tho famous duet with Don Giovanni, "La ci darem la mano," as well as that which follows with Masetto (Everardi). Mad. Charton gave these two admirable pieces their truo character, and the frequent applause, followed by reiterated recalls, proved how great was the satisfaction she caused. The part played by Tamberlik (Don Ottavio) is somewhat eclipsed by the others in this opera, but it contains the incomparable " II mio tesoro," which is sufficient to raise it to the level of the rest, and Tamberlik gave it in the grandest manner, with irreproachable charm and purity. Debassini, the bSneficiaire, sang his romance, "Deh! vieui alia finestra," very well, and we mention this piece without prejudice to the others, in which he was heard to no less advantage. When people have heard Lablache as Leporello, they are difficult to please; but. we must say that, though Marini is far from equal to that great model, be contributed very fairly to the ensemble of the performance. The part of Donna Elvira was well sustained by Mad. Bernardi, in whom we must blame, however, a coldness comparable only to her beauty.

M. de Sabouroff, director of the imperial theatres, gave, last week, in his magnificent mansion on the Moika Quai, a grand dinner to the artists of the Italian theatre. There was music afterwards, and Mdllc. Victoire lialfe, who was invited with her father, sang. She obtained, on the spot, a promise that she should appear shortly in the 1'raviata. Next week, Der Freischiitz will be given, for the benefit of Mongini; and the 9th or 16th of January is the day fixed on for the production of Le Pardon de Ploermel, the rehearsals of which are being pursued with great activity. Olosanti,* who possesses, on the ophiuleide, a talent analagous to that of Bottesini on the double-bass, and who has played in Paris, has just arrived in St. Petersburgh, where, also, he proposes playing. On Sunday, Mdllc. Ingeborg-Starck, who, likewise, was applauded, in Paris, last winter, gave, in the Rooms of tho Nobility, a concert. The young lady was highly successful.

Which is losing its novelty.

t A very vocal name!

* One of M. Jullien's countless discoveries.

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