SUBSCRIPTION Stamped for Postage--208. PER ANNUM Payable in advance by Cash or Post-Office Order to BOOSEY & SONS, 28 Holles Street, Cavendish Square, London, W.

VOL. 38--No. 25


Potos 4d. Unstamped

PRICE 5d. Stamped

MSS.-Macfarrencertures " Euryanta Mile. ENRICHETTA. CHARLES HALLE.. 28., and 1s.
Miss STABBACH, Miss Turin);"Mr. SANTLEY: BENEDICT. Tickets, 6s.

CRYSTAL PALACE.-June 25, 26, and 28.-GREAT IUTERR WILHELM GANZ respectfully announces that

U FRENCH MUSICAL FESTIVAL, by 3,000 performers. This great combi I his GRAND MORNING CONCERT will take place on Friday next, June 29, nation of the French Choral Societies, comprising deputations from nearly every at St. James's Hall, under the immediate Patronage of their Royal Highnesses the Department of France, representing 170 distinct Choral Societies, and numbering Duchess of Cambridge and the Princess Mary. To commence at 3 o'clock. Vocalists; between 3,000 and 4,000 performers, conducted by M. Eugene Delaporte, President de Mad. CATHERINE HAJES, Mad. LEMMENS SHERRINGTON, and Mad. SAINTON-DOLBY : l'Association des Sociétés Chorales de Paris, will visit England expressly to hold a Mr. WILBYR COOPER, Mr. SANTLEY, and Herr HERRMANNS. Instrumentalists-PianoGreat Musical Festival at the Crystal Pa ace on the above days. The Band of the forte: Herr WILHELM GANZ. Violin: M. SAINTON. Violoncello: M. PAQUE. Tenor : Imperial Regiment of Guides will accompany portions of the rocal music, and perform Herr GOFFRiE. Contra Basso : Mr. F. S. PRATTEN. Conductors: Messrs. BENEDICT, a selection of the most admired pieces of their repertoire each day, 'M. Édouard W. G. CUSINS, and WILHELM GANZ. Sofa Stalls, 10s. 60.; Reserved Seats, 5s. ; Batiste, the organist of Saint Eustache, Paris, will preside at the organ. Admission Balcony, 58.; Unreserved Seats, 3s. ; to be had of Herr Wilhelm Ganz, 15 Queen by single day tickets, bought before each day, 5s. ; by payment on the day, 7s. 6d.; Anne Street, Cavendish Square, W.; Mr. Austin, Ticket Office, St. James's Hall; reserved stalls, in blocks, arranged and numbered as at the Handel Festival, 5s, extra ; and the principal Music Sellers. a limited number of stalls will also be reserved in the transept galleries, at 10s. 60. each ; sets of transferable tickets (one admission to each of the three performances), MHE VOCAL ASSOCIATION, ST. JAMES'S HALL. 129. 60. : sets of reserved seats, 12s. 60, extra ; or if in the galleries, 25s. These tickets are now on sale at the Crystal Palace : at No. 2, Exeter Hall; at the agents'

I President, the Right Hon. the Earl of Dudley._Friday, June 29th, at 8, of the Company; or by order at the music-sellers' and libraries in London and the

SPOHR'S "ODE to ST. CECILIA,”-Mendelssoho's * Ave Maria," from Loreley principal towns, as at the Handel Festival. Cheques or P.O. orders (the latter pay.

MSS.Macfarren's Cantata " May Day" Serenade for Pianoforte and Orchestra ; able at the chief office), should be made payable to George Grove, Esq. The Palace

Mendelssohn-Overtures " Euryanthe" and " Tempest." Mad. CATHERINE HAYES, will open at 12, and the performances will commence each day at 3 o'clock. Notice,

Miss STABBACU, Miss MESSENT, and Mile. ENRICHETTA CAXILLI (her first appearance The leading Railway Companies north of London will issue return tickets over their

since her return from Turin); Mr. SANTLEY, and Mr. CHARLES HALLÉ. Choir and lines, available from the 23d to the 29th June. Other Ra'lway Companies will run

Orchestra of 300 Performers. Conductor : Mr. BENEDICT. Tickets, 58., 38., 28., and ls. excursion trains, of which they will give due notice.

each, at the Hall. CRYSTAL PALACE.BAND of the GUIDES.-By


LEFORT'S ANNUAL GRAND MATINEE MUSICALE will take place U the gracious permission of the Emperor of the French, this celebrated Band

(by kind permission) at No. 13 Gloucester Place, Portman Square, on the 29th instant, will accompany the Orpheonists to England, and take part in the performance on the

when they will be assisted by the following distinguished Artistes i-Mlle. PARRPA, 25th, 26th, aud 28th June.



T SHILLING TICKETS.-The Crystal Palace and Exeter Hall Offices will ST. JAMES'S HALL.-Signor PIATTI begs to anremain open for the sale of Tickets of Admission at ás, each, or for Reserved Seats, up

nounce that his ANNUAL CONCERT will take place on Saturday Morning. to 9 o'clock THIS EVENING, SATURDAY.

June 30th, at the above Hall. Vocalists, Mad. LEMMENS-SHERRINGTON, and Mad..


the Englise Gute AND MADRIGAL UNION, Miss BANKS, Mrs. Lockey, Mr. FOSTER,

Mr. LOCKEY, Mr. MONTEM SMITH, Mr. Winx, and Mr. LEWIS THOMAS. Pianoforte, to announce that his ANNUAL MORNING CONCERT will take place Mad. Pistti; Violin, M. SAINTON; Violoncello, Signor Piatti. Conductors Mr. J. at the above Hall, on Wednesday, June 27. to commence at 2 o'clock. Vocalists, L. HATTON, Signor Li Calsi, and Signor CAMPANA. Front Sofa Scalls,: 215.; Stalls, Mad. LEMMENS SAERRINGTON, Mile. ARTOT, and Mad. SAINTOX. DOLBY ; Mr. Sims 10s. 60.; Reserved Seats, 5s.; Balcony, 2s. 6d.; may be obtained of Signor Piatti, i REEVES, the ENGLISH GLEE AND MADRIGAL UNION, Miss BANKS, Mr. Foster, Mr. Queen's Gardens, Hyde Park, W.; and of Chappell & Co., 50 New Bond Street. LOCKEY, Mr. MONTEM SMITH, Mr. WINN, and Mr. LEWIS THOMAS. Violin, M. SAINTON : Violoncello, M. PAQUE; Pianoforte, Mr. LINDSAY SLOPER. Conductors,

M DEPRET'S MATINÉE MUSICALE (by the kind Mr. BENEDICT and Mr. HAROLD T AOMAS.-Sofa Stalls, 10s. 6d.; Balcony, 5s.; Area, 3s. tickets to be had at St. James's Hall, of all the Principal Music Sellers, and of Messrs.

11. permission of Messrs. Collard and Collard), at 16 Grosvenor Street, W., on Chappell and Co., 50 New Bond Street. N.B. The Review of the Volunteer Rifles by Saturday next, June 30, at 2 o'clock, Artistes : - Mesdames CATHERINE HAYRS, Her Majesty having been fixed for the 23d of June, Mr. Sloper has been compelled to

PALMER, PAREPA, LOUISA VINNING, AUGUSTA THOMPSON, REIDER, and RUDERSDORFF, postpone his Concert till Wednesday, the 27th inst.

ANNIE C*** ; Messrs. DePker and PATRY; M. LEOPOLD DE MBYER, Signor REDONDI,
M. PAQUE. Conductors, Messrs. BENEDICT, BILETTA, RANDEGGER, CUNio, and

EMLE BERGER. Tickets, 103. 6d., to be had of Mr. Robert W. Ollivier, 19 Old Bond MRS. ALEXANDER NEWTON'S MATINÉE, by Street, W.; at the Music Warehouses; and of M. Depret, 159 Regent Street, W.

1 kind permission of Collard and Collard, 16 Grosvenor Street, Tbursday, June 28, at 3 o'clock :-Mesdames WEISS, LAURA BAXTER, JANE PALMER, NEWTON; Messrs. IMR. JOHN THOMAS has the honour to announce GEORGE PERREN, DEPRET, ALLAN IRVING, Weiss, LIDEL, MAYCOCK, and Miss

1 that he will give a MORNING CONCERT, at the Hanover Square Rooms, MATILOA BAXTER ; Mr. WILLING, and F.MORI. The celebrated BROUSIL family's first

on Monday, the 2nd of July, to commence at Three o'clock Iprecisely. Vocalists, appearancs this season.-19 Albany Street, Regent's Park.


lusti umentalists: Piano, M. Ernst LUBECK; Violin, M. BECKER; Harmonium, M. MISS SUSANNA COLE'S GRAND EVENING ENGEL : Harp, Mr. JOHN THOMAS. Conductors, Mr. W. G. CUSINS & Mr. HAROLD CONCERT. on Thursday next, June 28, at St. James's Hall, to commence at 8

THOMAS. Reserved Seats, 15s., to be had only of Mr. John Thomas, 109 Great Port

land Street, Portland Place. Single Tickets, 108. 60., to be had of all the principal o'clock, Artists, Miss AUGUSTA THOMSON, Mad. GILBERT, Mlle. BEHRENS, Miss PALMER,

Music Sellers.
BECKER : Concertina, Signor REGONDI. Conductors, Mr. BENEDICT. Mr. HENRY

ST. JAMES'S HALL, Regent Street and Piccadilly. BAUMER, Signor CuNio, and Mr. AI FRED GILBERT.-Stalls, 75. each, may be obtained D PRINCE GEORGE GALITZIN'S SECOND RUSSIAN CONCERT will at Miss Cole's, 25 Lanark Villas, Maida Vale ; at Addison, Hollier, & Lucas's, 210 take place on Friday Evening, July 6th, to commence at Eight o'clock precisely. Regent Street, Cramer, Bea e, & Co.'s, 201 Regent Street: and at Mr. Austin's, 28

Vocalists already engaged, Mlle. PAREPA and Signor MONGINI. Instrumentalisi: Piccadilly, Balcony, 38.; Area, 25.; Gallery, Is., at the Principal Music Sellers. Pianoforte, Miss ARABELLA GODDARD. The Orchestra and Chorus will number 120

Performers. Conductor, Prince GEORGE GALITZIN. Programme: - Part 1. Chorus, TMMENSE ATTRACTION.-Mr. HOWARD

" Santa Maria" (Prince Geo. Galitzin); Russian Melody, arranged for two voices,

Mad. and Signor MONGINI (Prince Geo. Galitzin); Violin obbligato, Herr POLLITZER; 1 GLOVER respectfully announces that his GRAND MORNING CONCERT Chorus. " Warum denn mein Vater," from the Repertory of the Imperial Russian will take place at the St. James's Hall, on Thursday, June 28, commencing at Half-past Chapel' (Bortniansky); Adieux de Schubert, arranged for two voices, Mad. PAREPA One o'clock, on which occasion Mr. Sims REEVES will sing Mr. Howard Glover's can. and 'Mad. (Prince G. Galitzin); Trio from a Russian Opera, "Tizne za Tzaria,' tata of Tam o'shanter for the first time in London, and the following universally cele Mlle. PAREPA, Signor MONGINI, and Herr HERMANNS (Glinka); Chorus, " Gloria" brated artistes will appear, Mad. BORGAI-MAMO, Mad. FAURE, Mad. GOLDBERG (Prince G. Galitzin). Part 2. Overture to the Opera "Tizne za Tzaria" (Glinka): STROSS.. Mad. RUPERSDORFF, Mad. SAINTON-DOLBY, Miss LASCELLES, Miss STABBACH, Chorus, "Te egro," from the Hepertory of the Imperial Chapel (Bortniansky): Aliss 'T'HERESA JEFFERYS, Miss PALMER, Mad. LEMMENS-SHERRINGTON, Miss PAREPA, Romance," Madonna accogli, voti mici," Mad. , Violoncello obbligato, M. RENÉ Mad. Weiss, Miss ELIZA HORDBN, and Mad. CATHERINE HAYES; Signor BELLETTI, M. DOUAY (Prince G. Galitzin ; Mazurka, from an Opera Pianoforte, Miss LABELLA DEPRET. M. JULES LEYORT, Mr. LEWIS THOMAS, and Mr. Wiss. Violin, Hrrr GODDARD (Glinka); Herzen Valse, for Orchestra (Prince George Gallez Orhdd MOLIQUE and Mr. SAINTON : Pianoforte, Herr LEOPOLD DE MEYBR and Miss ARABELLA Polacca, for Orchestra and Chorus, "Tizne za Tzaria " (Glinka). Conductor of GODDAKD; Harmonium, Herr ENGEL. Conductors, Mr. BENEDICT, MR. HOWARD

Chorus and Orchestra, Prince G. GALITZIN. At the Piano, Hern A. RIKS GLOVER, Mr. RANDEGGER, and Mr. LINDSAY SLOPER. Sofa Stalls, 78.: Reserved Seats.

Area, 10s. 6d. ; Reserved Area, 58.; Balcony, 4s. ; Area, 2s. 64. , Gallery Es.: Balcony, 3s.; Area and Upper Gallery, 2s.; to be had of Messrs. Chappell, 90 New

had of Chappell and Co., 50 New Bond Street; Messrs. Cramørlennd Bond Street : Cramer & Co., 201 Regent Street; Hammonds, 214 Regent Street;

Street: Trubne , Paternoster Row, City ; Librairie Polonaise, 1.M Keith. Prowse, & Co, 18 Cheapside ; and of Mr. Howard Glover, at 28 Alfred Place.

Soho; of all the principal Music Sellers; and at the St. James's 1 Bediord Square. Further particulars will be duly announced.

Piccadilly. 25



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ST. JAMES'S HALL, Piccadilly.—Now Open daily, at 3 and 8 o'clock. WASHINGTON FRIEND'S GRAND MUSICAL and PICTORIAL ENTERTAINMENT, entitled "TWO HOURS In AMERICA, " beautU foUv illustrated by his large and magnificent moving Panorama faithfully delineating S.OGu miles of the most Interesting natural scenery in Canada and the United States; comprising the Falls of Niagara and the Hirer St. Lawrence, including a magnificent representation of the Great Victoria Tubular Bridge at Montreal, presenting Canada in Sprine, Summer, Autumn, nnd Winter, Illustrating American, Indian, Emigrant, and Negro Life, showing the very places wi<ere thousands now reside who formerly lived in this country, accurately depicting the River, Lake, Forest, and Prairie Scenery of the-Par West. While the Panorama is passing, Mr. Friend, the artist and proprietor, will relate his own adventure.*, and sing a choice selection nf the original Songs and Melodies of the country, accompanying himself upon Seven Instruments. Admission—Stalls (numbered) 3s.; Area, 2s.; Gallery, Is. Tickets may be obtained and places secured at Austin's West-end Box-office. Secretary—Mr. W. H. Edwards.

ORCHESTRAL UNION. —Mr. ALFRED MELLON begs to announce that he will return to London about the middle of June, when he will be open to any Engagement! for the Band of the Orchestral Union, which he ha. reconstructed. Principal Artistes; — MM. Sainton, H. Hill, W. Watson, E. Payton. Dovls, Tbust, O. Collini, Aylwaid, Howill, sen., Whitb, P. S.

P«ATTSN, R.0CKHTBO, Baiiret. Lazarus, T. 0« EN, llu -MH. C. HARPEB, Rtanden,

T. Hakper, Stanton Jones, W. Wintp«bottosi, Ciorn. Hcr.HES.and F. C. HoaTiN. Applications respecting eugageraents to be made to Mr, George Dolby, 2 Hinde Street, Manchester Square, W.

MUSICAL INSTRUMENTS for VOLUNTEER and COUNTRY BANDS.-BOOSEY and SONS beg to state that they have made arrangements to supply BRASS and REED INSTRUMENTS, of the very best description, at the lowest scale of prices. Band-Masters and others are recommended to forward a list of Instruments required, for which they will receive an estimate of colt by return of post.

Boosey and Sons, Holies Street.

"f\UR RIFLE VOLUNTEERS," Loyal Song and

\J Chorus, by R. Andrews, sent post free for 12 stamps.—Orders to R. Andrews's Cheap Music and Pianoforte Saloon, 84 Oxford Street, Manchester.

GOD SAVE THE QUEEN," for Four Male Voices, as sung by the Choir of 3000 FRENCH ORPHEONISTS, at the Fatet given lu the Crystal Palace, Sydenham.arranRert especially for them by C A MULE Dk Voss, is published in score, price 6d., by Duncan Davtion and Co. 244 Regent Street, W.


M Gate," composed expresslv for him by George B. Al£en, Is now published, price 2s. 6d. by Duncan Daviion and Co. 244 Regent Street, W.

ELLIOT GALER'S NEW SONGS, composed expressly for him by W. Mm* Lute, are just published, vis.:—•' Under the Linden Tree" and •* Merrj little Maud," price 2l. Gd. each, by Duncan Davison nnd Co. 244 Regent Street, W.

BRINLEY RICHARDS' "Harp of Wales," sung by Mr. Sims Reeves, at St.^James's Hall, and enthusiastically encored, Is published, price 2s. Od. by Duncan Davison and Co. 2)4 Regent Street, W., where " The Suliote War Song," sung by Mr. Santlry, price 3s., "Ethel," Romance for the Pianoforte, 2s., and the " Leopold" Mazurka, 2s., by Brikley Richards, may be obtained.

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THE PIANOFORTE: its Origin, Progress, and Con. structton; with numerous Musical Illustrations. By E. F. Rmlmr, LI D

One vol. royal 4to. 496 pages, Illustrated with a Frontispiece In colours and M Woed! cuts and Diagrams. Price, bound In cloth, £\. 16s. This work, with Hofiiks snd Rimbavlt's celebrated "History of the Organ," constitute the only reliable (md hitherto much wanted) authority on these Instruments.

HAUSER'S LIEDER OHNE WORTE, for Violin; with Accompaniment for Pianoforte. Six Numbers, each 2s. Most beautiful compositions, admirably arranged for Violin and Piano. Most highly appreciated bj violinists.

HAUSER'S DECAMERON, Favourite Operatic and National Airs, arranged for Violin, with Fianoforte Accompaniment. Twrln Numbers, each If. Gd. These elegant arrangements are remarkable Tor facility of execution. They supply a dasiderotum long felt, vis. the want of music for Violin sod Piano, popular and graceful In character, but such as not to overtax the powpn of ordinary performers.

THE WEDDING WALTZES, for Piano. By W. Vincent WaLiacs, composer of "Lurline." Splendidly illustrated, si. "A beautiful set, full of melody."—Brighton Herald.

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TAR of the EVENING. By Alphonse Leduc.

Fantasia for Piano. 2*. A most pleasing arrangement by the elegant Fren:fc

composer, and perfectly easy.

""\TARGUERITE :" Song. By the admired Authoress

-L-YJL- of " Fading Away." 2i. M In Marguerite we can safety recommend oaeof the most charming ballads we have heard for a long time."—brio a Tow Hieald.

ROBERT COCKS & CO.'s LIST of PIAN0FORTES. with Illustrations, Dimensions, Prices, and full particulars, forwwded on application, gratis, and postage free.

MUSICAL WORKS PUBLISHED on the AUTHOR'S OWN ACCOUNT, at moderate charges, wilh expedition, accuracy, and ins superior style. Estimates supplied by Kobert Cocks & Co., New Ba "-" Publishers to the Queen.

THE FLUTE.—ROBERT COCKS & CO.'S CATALOGUE of FLUTE MUSIC, just reprinted, may be had gratis and postacs free | also Catalogue of Septet Music, Music for Cornet, Brass Band, Military Band.

Orchestra, *c Address, Robert Cocks « Co., New Burlington Street, Regent Stmt.

W., Publishers to the Queen and the Emperor Napoleon Ilf. MUSIC AND THEATRES IN PARIS.

(From our own correspondent). { ( June 20.

I Hate not much to tell you of this week as touching musical events. The principal fact to be recorded under this head is a concert given by a M. L. Wiest, a German violinist, but whether by birth, or education only, I know not. He is chapel master to some prince at Bucharest, but seems to devote himself to the light fantastic style, and to eschew serious and solid music. What he played was his own handiwork, and served mainly to display certain sentimental graces mingled with dashing feats of execution. Indeed I should not mention the concert at all but that among the executants was 'Theodore Ritter, the pianist, who your readers will remember produced such a legitimate sensation at the last Philharmonic Concert in London, in one of Hummel's concertos. He is indeed an artist of pure and correct taste as well as rare mechanical ability, entirely free from those paltry tricks and affectations, those senseless caprices of accentuation by which so many artists strive to entrap the judgment of their audience and pass for persons of unusual depth of perception. All he does is simple, clear, and honest, and distinguished withal by a rare degree of finish. In scale passages he is brilliantly clear and rapid, and when he has a melody to deliver it receives all the expression due to its character without any attempt to torture it into extra impressiveness.

M. Wicart, the Belgian tenor, whose re-engagement at the Grand Opera I announced in my last, made his appearance last Friday as Ar nold in GuiUaume Tell. A great deal of curiosity was felt, to ascertain whether this artist had indeed made all the progress attributed to him since his first appearance in Paris. The result has proved in excess of whatever was anticipated, and so decided was his success that the strongest desire is expressed that he shoul d in future make Paris his artistic home. His voice is of considerable extent, powerful, and especially clear and telling in the upper notes. In the celebrated air, "Asile hereditaire, followed by the stretia, "Ami*, secondez ma vaillance," which is the trying piece of the part, and the one which would decide the character of his success, Wicart was enthusiastically applauded and several times re-called. He is to appear again in the same opera, and then twice as Raoul in the Huguenots; his engagement being only for four nights. I understand that the report of the commissioners appointed to make enquiries as to the most suitable locality for the new Opera House has been sent in, and that the decision is in favour of the site on the Boulevard des Capucines. The commission consisted of the following personages, M. Chaix d'Estange, chairman; M. Caristie, architect; and MM. Cornudet, Eugene Scribe, Varin, L. Veron, and Deniere. Herold's maiden triumph at the Opera Comique, Leu Rosieres, just revived, as I mentioned last week for the first time since 1826, u still running, and meets with increased success every night. It « admirably executed, every part being well filled.

At the command of the authorities all the theatres in Paris broke out last week into lyrical ecstasies of patriotic enthusiasm at the annexation of Savoy and Nice to the French territory. M. Mery, whose muse is ever at the disposal of official grief or rejoicing, emitted three strophes on the occasion for the use of the opera, and M. J. Cohen wedded them to strains of befitting harmony. The Opera Comique, the Theatre Lyriquc, and the Theatre Dejazet, had each its cantata, called France et Suvoie in each instance. It may interest your readers to know that the amusements of the Parisians during the month of May, in the way of theatres, concerts, balls, and other public entertainments, reduced the contents of their pockets to the extent of 1,206,523 francs 40 centimes, or £48,260.

_ A correspondent at Strasburg informs roe that Mad. Sanchioli is shortly expected there to give a grand concert at the theatre. This singer, you will remember, was engaged at Her Majesty's Theatre in 1847, the first year of the opposition to Mr. Lumley's establishment. She appeared in La Favorita with Signor Gardoni; both artists making their debuts at the same time. Mad. Sanchioli has been making a tour in the French provinces, accompanied by M. Bazzini, and takes Strasburg on her way. The alliance between

the corps diplomatique and the lyrical stage, commenced by Mad. Sontag, and continued so illustriously by Lady Crampton, will be further cemented by a marriage that I hear of as shortly to be celebrated between the Prussian ambassador at Stuttg^ard, Count Schullenburg, and Mile. Pannetrat, of the Opera Comique. The same writer who furnishes me with this piece of gossip informs me that Alexander Pae'r, a son of the celebrated composer, and a maestro himself, has just died at Rome.

I have received a slip from a Belgium paper, Le Journal de Gaud, in which there is a gentle and, to my thinking, not ill-deserved tap administered on the knuckles of M. Scudo, the musical critic of La Revue des Deux Mondes. This gentleman publishes an annual volume called L'Annee Musicale, in which he has made a violent attack on Belgium and the Belgians, charging them with living wholly on the brains and genius of France, and being in arts, language, literature (he excepts their government and industry), a piratical copy of France and Frenchmen. He says they have a conservatoire with a very capable director, to wit, M. Fetis, where they only rear instrumentalists and vocalists such as Vieuxtemps and Cabel, having their merit no doubt: but they have no national school of music, or if they have, it is as equivocal in merit as the French they speak at Brussels. Unfortunately this reproach is expressed in anything but an elegant specimen of the language it so jealously defends from Belgian barbarism. It presents an inextricable confusion of relatives, which affords the journalist of Ghent an opportunity of thus retorting: "In the presence of this literature of que-que and of qui-qui it is impossible not to be struek with the graceful turn M. Scudo has given to the compliment he pays us on our ignorance of the French language. Could he not be prevailed upon to accept a professorship of French in Belgium r"

A very intelligent friend of mine, who holds an important post at the Court of Berlin, and of whose musical knowledge—amateur as he is—I am decidedly jealous, gives me some account of the operatic doings in that city. Marschner's opera of The Templar and the Jewess- has just been revived. This is decidedly the most popular work of the composer, but on its first appearance it had to struggle against the influence of two such redoubtable rivals as Weber and Spohr, and consequently it was never appreciated at its just value. Marschner has now had his revenge, and has compelled the public to acknowledge the dramatic power which characterises many of the pieces in this opera, the gracefulness of its melody and the richness of its instrumentation. Mad. Koester played the part of Rebecca and added fresh lustre to her reputation. Kreutzer's opera of A Night at Granada has been played at KroU's establishment with great success. Stradella (Flotow'B) is still attracting crowded audiences, and is being played both at the Frederick William Theatre and at KroU's. The duo between the two brigands and the hymn to the Virgin are regularly honoured with an encore whenever they are heard. It is the success of Martha over again. This is encouraging to Mr. Gye, who is to bring out Stradella during the present season. By the way, it is said here that he (Mr. Gye) has engaged Graziani for two seasons, 1861 and 1862, at the rate of 10,000f. a month; you will better come at the truth of this than I. But to return to my German correspondent's budget of news. The Italian opera at Vienna closes on the 28th of the month, and next season the Pardon de Ploermel will be produced, with Mad. Frassini as Dinorah. The Pardon has been played at Munich with Mile. Schazbaeh as the heroine. Gluck's Iphigenia in Aulis is announced here, and Mile. Stoeger is to sing the principal part. The Oratorio Society of Munich have brought their season to a close. Bach's Christmas Cantata and fragments of Handel's Susannah were given at the last performance. At Trieste, Mad. Amelia Jackson had just made her debut in Robert le Diable as Isabella, and obtained a legitimate success.

Let me wind up with a piece of local news which if not musical is curious. A commission has been appointed of literary and administrative sommites (anglice topping fellows) in order to examine and discuss the knotty question of literary property. The time is oddly chosen for such an inquiry. It does not seem as though the products of the French press under the Imperial regime would ever constitute a very valuable estate to their proprietors even though the title to them were granted in perpetuity. HER MAJESTY'S THEATRE.

Don Giovanni was announced for Saturday evening, but put off in consequence of the illness of Mile. Titiens, Mad. Borghi-Mamo, Signor Everardi, and Signor Giuglini, who were severally attacked with sore throats. In this strait Mad. Alboni was applied to, and the Barbiere was given, the great artist appearing of course as Rosina, one of her most perfect and exquisite achievements. M. Gassier also being ill, Signor Sebastiano Ronconi sustained the part of the barber for the first time, and, amid much that was exaggerated, displayed no small amount of humour. His singing, but for a tendency to drag, was excellent. Signor Ciampi, as Doctor Bartolo, again created a furore in the air "A un dottore." In the lesson scene, Mad. Alboni, whose '' Una voce" was divine, introduced the tyrolienne from Betly, "In questo seniplice," which was magnificently given and rapturously encored.

On Tuesday, Lucia di Lammermoor was presented for the first time, with MUe. Titiens as Lucy, and Herr Steger (from Vienna) as Edgardo—his first appearance in this country. That the heroine of Donizetti's opera is not. entirely suited to Mile. Titiens, may readily be credited. It is as though Mrs. Siddons should essay the character of Juliet. The easily-credulous, timid, lovestricken maiden is hardly suited to the impetuous instincts of the Teutonic Grisi. Nevertheless, there arc many passages in the music which give occasion for the display of strong emotions, and of these Mile. Titiens laid hold with avidity. The scene with Ashton in the second act, the scene of the malediction, and the mad scene, were superbly acted, and in most respects magnificently sung. The sensation Mile. Titiens created alter the lastnamed was indescribable.

Herr Steger is, we understand, a Hungarian, and has for many years enjoyed a first-rate reputation in some of the theatres of Germany. He is a tenore rooutto, with a very capable and strong, if not very agreeable, voice, and style full of energy and vigor. An abuse of the vibrato is his most serious fault. He reoeived every encouragement from the audience, and was twice recalled at the end of the opera. Nevertheless, it is unlikely he will retain a position at Her Majesty's Theatre.

M. Gassier sang the music of Ashton very finely, but would do well to change his Highland for a Lowland garb, One kilt among so many pairs of trews does not greatly aid the scenic illusion. Perhaps the Italian costtimier who first dressed the character in Lucia, was impressed with the idea that Laminermoor was a village on the summit of Ben Nevis.

Previous to Lucia, Gnecco's opera buffo, La Prova <Tuu Opera Seria was given, with Mile. Lotti, Signers Corsi, Sebastiano Ronconi, and Ciampi in the principal characters. This lively little affair was capitally sung and acted, more especially by the new buffo, Signor Ciampi, who, as the manager Campanone, again proved his title to be the legitimate successor of Lablache. In the song^ with directions to the orchestra ho was most admirable, and elicited roars of laughter. In the popular duet, "O guardate che figura" (with Mile. Lotti). we have heard the imitative passages given with greater fluency by Mad. Viardot and Signor Tamburini.

On Thursday, Lucrezia Borgia was repeated, with MUe. Titiens, Mad. Alboni, Signor Mongini, and AI. Gassier in the principal characters.

On each of the above occasions, the last scene of the ballet Ailelina was given, with Mile. Claudina Cucchi, who makes visible progress in the favour of the audience.


Maltha, the best opera of Herr Flotow, and one of the happiest German counterfeits of the wit and sparkle of the Opera Comique, was received on Tuesday night with the same success that attended it in 1858 and 1859. No work has been more sumptuously, and at the same time more carefully, put upon the stage of the Royal Italian Opera than this ; and though compared with one of Anber's lyric dramas it stands much in the same relative position as Brussels when compared with Paris, under such favourable conditions of costume, scenery, and distribution of the principal characters, it*may be allowed to represent the Belgian capital during the

period of the September fetes—in other language, at its gayest and very best. J<o modern opera is more replete with ad cap'tandum " tune ;" and if the tune was as fresh and original as it is fluent and continuous, Martha would be, in a purely melodic sense, a masterpiece. At the same time, the music throughout is animated, busy, and dramatically appropriate. Some critics have suggested that Martha, stripped of the Irish (or—as Mr. William Chappell may probably tell us in a future volume—English) air to which Moore wedded the "Last Rose of Summer," would be much in the same plight as the stem without the flower. But this is begging the question; the Irish melody was at hand, and Herr Flotow—as a far more genial composer did with "Robin Adair" (Boieldieu, in La Dame Blanche)—turned it to excellent purposes. An eminent landscape painter was once heard to say that he liked having his pictures hung near those of Turner, inasmuch as they derived a brightness Dot intrinsically their own from their approximation to the lustrous canvas of that great master; and so Herr Flotow may have inserted the "Last Rose of Summer" in the midst of his " tone-picture" (to employ the modern Teutonic jargon) with some'such arriere pensee. At all events, this exquisite melody gives the predominant colouring to the work, and it would be as impossible to think of Martha without it as of the last scene in Rossini's Otcllo without Desdemona's "willow-song."

There is not much to say of the performance, the cast of the opera being, with one exception, precisely the same as before. The exception, nevertheless, was an important one. The part of Lady Henrietta (Martha)—sustained in 1858 by Mad. Bosio, and in 1859 by Mile. Lotti—was on this occasion alloted to Mad. Penco. Mad. Penco is not Mad. Bosio, but she approaches much more nearly that inimitable artist in her musical delineation of the character than her immediate predecessor, or, indeed, than any other we have seen. Her delivery of " Qui sola, vergin rosa" (the "Last Rose of Summer "), but for a slight abuse of that tremulous utterance which so many singers of recent days appear to consider inseparable from the true pathetic style, would have been faultless—more plaintive and unaffected it was impossible to make it; and we were not at all surprised at the loud "encore" it elicited, the compliance with which enabled Mad. Penco to exhibit still deeper feeling and still greater vocal refinement. In her acting Mad. Penco displayed those legitimate qualities that have placed her in the foremost rank of existing lyric comedians. Mud. Nantier DidieVs Nancy, Signor Graziam's Pluiukett (not Plunkett), M. Tagliafico's Lord Tristan, and M. Zelger's Sherift of Richmond were each in its particular sphere quite as pood a-, in former years, and need not be described anew. Nor, but for the surpassing excellence of Signor Mario's singing on the present occasion, would it be requisite to devote more than a passing word to his Lionel. Signor Mario, however, did more than " sing with his accustomed taste" amjr " act with his accustomed intelligence." His performance was irreproachable in every sense. To describe all its beauties would take more time and space than we can afford; but it is no more than just to point out one or two. Ot course his most thoroughly appreciated vocal effort was the air, "M'appari tutt' amor" (Act III.), in which the perplexed and half-demented Lionel, in a fervid apostrophe to the cruel Martha, vows eternal constancy to that beloved ideal—the mistress of his fate. The recitative commencing with a snatch of the melody which haunts us through the opera, was given with intense feeling, especially the passage—

"Sfolg.ji antc la veggio

"Del suo celeste c virginal soriiso"

(which, in the English text, is rendered, "I see her shining, of a celestial shine "); and the graceful air itself, with its passionate burden,—

"Marta, Marta, tu sparistt

* E il mio cor col tno n' andd "—

was a triumph of expressive singing. An enthusiastic "encore' was the result, and the repetition of the air exhibiting even still more earnestness on the part of the accomplished singer, he was greeted with a regular "ovation" at the end. Never was Signor Mario's voice in "better order" than on this occasion. The band and chorus were everything that could have been desired; and the concerted music — including the scene of the "statute fair," the quartet at the spinning wheel, the "Buonanotte," and the last finale, in which, by the influence of familiar sights and sounds, Lionel recovers his scattered senses—were, one and all, alike effective from a musical and scenic point of view. The whole performance gave the utmost satisfaction to a crowded audience, among whom was Her Majesty the Queen.


Philharmonic Concerts.—These admirable and thoroughly intellectual entertainments seem to be returning to their premiere jeunesse. Most assuredly have they not for years engrossed so much attention, or presented such undeniable evidence of prosperity. The appointment of Professor Sterndale Bennett to the office of conductor has proved (as we always anticipated) of eminent service. So thoroughly practised a musician could hardly fail to win the confidence, and thereby enforce the willing discipline, of bis orchestra; and it is not too much to say that the band of the Philharmonic Society was never more entirely under the control of its chief, and consequently never more fitted to render the orchestral works of the great composers to perfection than at the present time. The programme of Monday evening's concert (the fifth and last but one of the season) was as follows :— Part L

Sinfoni* in E flat, No. 5 Mozart

Song—" The Quail," Mr. Tennaut . . . Beethoven Concerto in A minor, pianoforte, Hcrr Ritter Hummel Aria—*' Vedrai carino," Mad. Borghi-Mamo . Mozart Overture—" Isles of Fingal" .... Mendelssohn

Part IX

Siufonia in A, No. 7 Beethoven

Recit. and Aria—" Ah, come rapida," Mad. Bor

glii-Mamo ....... Meyerbeer

Concertino, violoncello, M. Paque . . . G. Goltetmann

Overture—"Prometheus" ..... Beethoven

Conductor—Professor Sterndale Bennett, Mus.D.

Of the symphonits and overtures—all selected from the repertory of chosen master-pieces, which it is the professed object of the Philharmonic Society to bring forward as often as possible (and which they will be able to do still more effectually next season, when the series of concerts is restored to its original number of eight)—nothing need be said. The more than usually magnificent performance, however, of Mendelssohn's Isles of Fingal—of all poetical concert overtures (in contradistinction to the "character overtures," of which Beethoven's Corialan and Egmonl, together with Mendelssohn's own Ruy Bias, form the most striking examples) the finest—must be acknowledged, in justice both to Professor Bennett and those who act under him. So wellmerited a success as that obtained by Herr Ritter (a Frenchman, we believe—M. Bcnet, who need not be ashamed of his patronimique) in the pianoforte concerto of Hummel has not been witnessed, at the Philharmonic Concerts or elsewhere, for a very long period. This same concerto was played, if we remember correctly, about two years since, by a resident German pianist of eminence (not M. Halle), but without producing any marked sensation. It was not, therefore, as a novelty that it pleased so much. The merit must be attributed to Herr Ritter's (M. Benet's) performance, which literally transported the audience. The applause at the end of each movement and the recall at the termination of the concerto were beyond measure enthusiastic. Herr Ritter's playing reminds us in many respects of that of Mr. Sterndale (now "Professor "—nay, "Doctor") Bennett, more than twenty years ago, with the proviso that the foreigner has yet to acquire the full rich tone, the perfect phrasing and the provokingly faultless mechanism that, at the time we speak of, left the young Englishman without a single rival except Felix Mendelssohn Bartholdy. Whether Herr Ritter is destined to reach this high standard or not we are unprepared to say; but of one thing we are certain, no such legitimate playing as his has been listened to from the fingers of a new aspirant to the suffrages of the English public since M.

Halle (with whom, of course, he must not yet be measured) first appeared in the orchestra of the Philharmonic Concerts. If in Beethoven and Mendelssohn Herr Ritter has the gift to shine as brilliantly as in the less poetical though more methodical Hummel, he may be hailed as a new phenomenon in the pianoforte world, and with the greater heartiness as a foreigner who, without the slighest pretension or quackery, reads good music with the spirit of an enthusiast and the skill of a master. We regret that we were unable to hear the violoncello solo of that excellent artist, M. Paque, whose introduction to these concerts was simply a just tribute paid to real desert. The Morning Post says :—

"The rich and powerful tono of M. Paque gives him a special advantage over the best of our resident violoncellists, whilst in musical sentiment he is surpassed by none. M. Faque's execution of a concertino by Goltcrmann on this occasion may be cited as a worthy exemplification of his powers. We never heard him play more finely."

Of the vocal music we need s ay nothing more than that the name of Mad. Borghi-Mamo was a manifest attraction, and that Mr. Tennant, one of the most careful and intelligent of our young English tenors, gave Beethoven's beautiful song with such artistic taste as to win unanimous approval from an audience "critical among the critical."

Monday Popular Concerts.—These highly successful entertainments are now rapidly drawing to a close, the concert of the 18th being announced as the last but two of the season. In all our experience of matters musical, we cannot recall an example of such unparalleled success as has attended these performances. Excellent as was the first season, the second has surpassed it both in variety and extent; and a better criterion of the advanced musical taste of the day cannot be found than in the fact, that from the middle of November till the present time these concerts have been given almost without interruption every Monday, and invariably attended by large and appreciative audiences, including all ranks and classes of the public. The concert under notice formed no exception to its predecessors, and judging from a line of private carriages extending nearly the whole length of Regent Street, we may reasonably infer that a considerable number of the audience must have belonged to the "upper ten," while the densely crowded state of the shilling seats showed that the same description of hearers whom Julhen first taught to listen to, and afterwards thoroughly enjoy, "classical" music rendered with all the appliances of a powerful orchestra, were equally capable of relishing the chamber compositions of the great masters now that the directors of the " Monday Popular Concerts" have placed them within their reach. The instrumental portion of the scheme was devoted to Beethoven, and comprised two quartets,—E flat, No. 10 (Op. 74), and D major (Op. 18); the sonata for pianoforte alone, E flat (Op. 29, No. 3); the violin romance in F (Op. 50), and sonata in A for pianoforte and violoncello. Mr. Charles Hallo's performance of the solo sonata was magnificent throughout, and commanded a perfect "ovation." No less admirable was the duet, in which the honours were shared by Mr. Halle and Signor Piatti, while Herr Straus was warmly applauded for his able rendering of the violin romance. The execution of the quartets, in which the new violinist enjoyed the co-operation of Herr Goffrie, Mr. Doyle, and Signor Piatti, was equally praiseworthy, and met with quite as cordial a reception as the other pieces. Miss Louisa Pyne, Mile. Jenny Meyer, and Mr. Laurence—a new name—divided the vocal music, the English lady being encored in Spohr's "E mi lasci cosi," of which she repeated the allegro, and Macfarren's song from Charles II. "Canst thou deem my heart is changing," both sung to perfection. Mile. Meyer's effective rendering of Beethoven's "In questa tomba" was honoured by a recall, while iu Gluck's " Che faro" she afforded general satisfaction. This wag equally the case with Miss Pyne's rendering of " Quando lascia," from Meyerbeer's Roberto il Diavolo. Mr. Laurence sang the air "Ah non avea piu lagrime." Undaunted by the enormous work of his morning concert at Her Majesty's Theatre (of which a notice will be found elsewhere), Mr. Benedict presided at the piano, accompanying the vocalists, as well as Herr Straus' solo, with his accustomed ability. Monday, June 25th (the last concert but one), is to be a "Mozart Night;" and July 2nd, f

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