Schindler's Biography, tend to show that in this instance, at least, Beethoven's love was reciprocated. Schindler mentions also an affaire de cceur between Beethoven and the Countess Marie d'Erdady, to whom he dedicated the grand trios in E flat and D, Op. 70. Ferdinand Ries, too—Beethoven's favourite pupil, and who lived with him for a long time on the most intimate terms—says, that his master's love-fits were seldom of very long duration, and that the most lasting evidence of constancy he could cite did not outlivo seven months! Becthovon's passion for Mile, de Guicciardi, nevertheless—with deference to Ries and Wegeler—retained its hold on him for years. These additions to the chapter of love in Beethoven's "Life" greatly enhance its value. Not satisfied with these, however, M. Fetis touches on the subject of Beethoven's friendships, about which the first edition of the Biographie Universelle was altogether silent. The illustrious musician seems to have been no less sensible to friendship than to love, but was so extremely sensitive, even on the most trifling points, that his self-esteem was easily wounded, and he would quarrel with his best friends. Ilis brothers, who frequeutly disturbed his tranquillity, and were the cause of his greatest annoyances, took delight in poisoning his mind with doubts about those for whom he entertained the sinccrest affection, in order themselves to sway him the more completely to their purposes. Beethoven used to listen too readily to their insinuations, and instead of demanding a frank explanation, would sulk and repel by his coolness those against whom he fancied he had grounds of complaint. If, however, any one succeeded in persuading him of his error, he at once hastened to confess he had doue wrong, implore forgiveness, and make every atonement in his. power, with cheerfulness and alacrity. Although exceedingly attached to the friends of his'youth, years sometimes elapsed without his even thinking of them.

One of his letters to M. Wegeler, the companion of his infancy, involves a confession that he had not written to that intimate friend even once during the space of seyen years. Although almost as intimate with Schenk, the first who explained to him the defects of his musical education, he would appear to have forgotten his mentor altogether, when, one day, walking with Schindler on the Boulevards at Vienna, he mot Schenk, of whom he had lost sight for nearly twenty years. Mad with joy at once more meeting so old and true a friend, who for ought he knew might have been already in the grave, Beethoven dragged him into a neighbouring wine-shop (at the sign of the Hunter's Horn), and, calling for wine, with a gushiug outburst of feeling, as of youth, the generally taciturn and abstracted artist abandoned himself to uncontrollable gaiety, and narrated, in uninterrupted succession, an almost endless series of stories and anecdotes. After an hour thus spent in mutual unconstrained expansion, Schenk and Beethoven separated, never to meet again. This took place in 1824, in less than three years after which period tho great "tone-poet" had ceased to exist. .

The chapters on love and friendship are followed by one devoted to Beethoven's family relations. The characteristic anecdotes follow—of which, by the way, M. Fetis has made a most discreet and appropriate selection ; and finally, we have a chronological catalogue of Beethoven's works, followed by an examination of the biographies, essays, appreciations, and other writings on the subject. If the rest of the new edition of La Biographie Universelle de* Musiciens be on a par with the article "Beethoven," it

will be no less a book of inestimable value than of unr exampled labour and research.


SOME seven years ago every London play-goer was astonished by the marks of genius displayed by a comedian of small stature, named Robson, in a burlesque on the Merchant of Venice entitled Shglock. There was no lack of comic actors at the time, and the world had been completely surfeited with burlesque. Nevertheless, this same Robson displayed so much tragic earnestness in the midst of his grotesque whimsicalities that the critics were puzzled altogether, and began to ask themselves whether a first-rate tragedian, suspecting that the age for "legitimacy" was gone, was not impudently palming himself off as a low comedian.

The puzzle is now at an end. Most people are at present aware tint Mr. Robson is not a tragedian, but a genius of a peculiar sort, who has carved out a path for himself. The merely comic is not his element, save when it consists in a strongly coloured representation of marked character j but in the art of infusing a drop of pathos into a goblet of fun, Mr. Robson is unrivalled. To make people check themselves in the midst of laughter, to wipe a tear from their eyes,—to startle them with a serious unction, when they are idly listening to a parody on some popular song,— this is the mission of Mr. Robson. Of modern actors, he is tho real humorist, in the Thackeray sense of tho word,—the man with an instinctive knowledge of human nature, of that strange region in which smiles and tears are contending for supremacy. Of modern actors, he is the one man who, undertaking a new part awakens the curiosity of the whole

metropolis. '> . .

On Tuesday next, Mr. "Robson will revive the burlesque, Shi/lock, and also perform in the Porter's Knot. These two pieces are the respective types of the two departments to which he devotes his talent. In the burlesque he is a creature of conceits and. oddities, through which a deep earnest nature is constantly apparent. In the diminutive drama he is the fond father, and the man of unblemished integrity, rendered comic by the results of a vulgar training, but pathetic in the extreme, when the intrinsic worth of the man rises above the effect of circumstances. Those who .visit the Olympic Theatre, on Tuesday next, will witness two of the greatest histrionic creations of which the present day can boast.

Mb. Benedict As Composer And Pianist. — " The most remarkable feature in the first part * was Mr. Benedict's masterly and beautiful execution of ]ii3 own admirable concertino for piano, with orchestral accompaniment — one of the very best works del genere which the modern school can boast. The unaffected sympathy and genuine affinity of mind which connect Mr. Benedict unmistakably with his instructor and model, Carl Maria von Weber, are here (as in all Mr. Benedict's most important compositions) very strikingly exhibited. To resemble so great a writer as the author of J)er Freischiitz, without incurring the reproach of plagiarism, is praise indeed; for nothing less than a kindred genius could accomplish so much. Mr. Benedict's playing was worthy of his music. The delicate and beautiful touch, symmetrical phrasing, chiaro-oscuro, and perfectly neat and finished "execution (taking this word in its special sense) which have ever characterised Mr. Benedict's performances on the pianoforte, were never more delightfully exemplified than in his rendering of the concertino, which was enthusiastically applauded,

'* In allusion to Mr. Benedict's concert, on Monday last,

as it well deserved, not only at the termination, but whenever 1 tutti' afforded a plausible excuse for doing honour to the soloist. Mr. Benedict, who, be it understood, plays the music of others as well (in every sense) as his own, also took part in an ingenious, brilliant, and immensely-difficult duet for two pianos (on themes from Meyerbeer's Robert le Diable), with its gifted author, the famous 'lion-pianist,' Herr Leopold de Meyer, with whom it is not too much, though a great deal, to say that he fairly shared the honours."—Morning Post.

Hebe Straus At The Monday Popular Concerts. — The first appearance at these concerts of a violinist with such legitimate claims to notice as Herr Straus (from Frankfort) must not be passed over without a line to record that it was eminently and deservedly successful. All genuine amateurs are acquainted with the Tenth Quartet of Beethoven, and know that it is one of the most difficult to play, no less than one of the most profound and poetical, of the seventeen master-pieces which the greatest of Instrumental composers has bequeathed to the world of art. In this piece (which had already twice been led with great ability by M. Wieniawski at the Monday Popular Concerts) Herr Straus made his coup d'essai before an audience become critical through the force of admirable examples, and so by no means easy to conciliate. Herr Straus, however, in the first part of the first movement had done enough to satisfy all present that he was no mere flashy pretender, but, on the contrary, an artist of the foremost rank; whilo all the rest, up to the final variation of the theme of the concluding movement, was to match. Thus the Frankfort violinist was not "plucked," but passed his examination triumphantly. The decision was most just, Herr Straus being not merely all that report had given out in his favour, but something more. Besides the Tenth Quartet, he played the Romance (No. 2), accompanied by Mr. Benedict on the pianoforte, and the Quartet in D major, the finest of the early set of six, numbered Op. 18, and the one which in certain places (instance the minuetto and <rii>) exercised an undoubted influence upon Mendelssohn.—Times.

Ciementi's Sonata In C Major, Op. 39.* — {From the Athenarum.)

"Mr. C. HallO's Second 'Rehearsal * was excellently well 'recited' tlio day before yesterday. Nothing could be better than his playing. Of this, as interpreting Beethoven, Mendelssohn, and Chopin, and Mr. Halle, there is no need to speak; but we were especially grateful for the grace and vivacity thrown into the selections given from the works of Scarlatti (the second piece as fresh as though it had been but yesterday), and for another Clemcnti sonata. Op. 39, No. 1,—numbered 25 in Andre's new edition, which may be called another Clementi jewel from a mine, the opening of which is only beginning. The expressive, yet animated, dignity of the opening Allegro di mollo, the life and originality of the last finale in J C major, of which We cannot but fancy Beethoven may have heard when busy with his first set Of Bagatelles, establish the work as a master-piece,—thanks to the address and spirit of the player who established it on Thursday."

[" The same sonata of Cleuienti," says the programme of the last Monday Popular Concert, "was performed on the third 'Italian Night,'—-June 4tb,—by Miss Arabella Goddard."]

Theodore Bitter At The Philharmonic.— "The solo instrumentalists were Herr Rittcr, a pianist quite new to this country, and M. Paque, the well-known violoncellist. The former was triumphantly successful, as he well deserved to be. The numerous disappointments We have experienced of lnte years with respect to 'distinguished foreign pianists,' whose visits to our shores were heralded by magnificent 'puffs preliminary,' each player being set down for the nonce as the greatest of the great, rendered ns, we must own, somewhat sceptical about the merits of Herr Ritter. We were thus surprised no less than delighted to find in this new performer a consummate master of his instrument — a pianist whose executancy presents a combination of manual agility with purity and elegance of style which not one player in a thousand attains to. Herr Ritter possesses, too, in its highest perfection, that gift of nature, a beautiful and fympathetic "tonch." He handles his piano as though he loved it, and the piano seems to return his affection. The piece selected by^ Herr Ritter for his dtbut at the Philharmonic was Hummell's fine and far too rarely heard concerto in A minor. Herr Ritter could not have chosen more wisely. Nothing more thoroughly 'pianistic' than this work exists; and perhaps there is none in which

* Monday Popular Concert Library—No. 3 (in the press).

so much effect may be made in a natural and orthodox way by a legitimate pianist. Wo do not mean to say that Hummell's concerto in A minor is not 'difficult' to play, for it demands graces of style and expression which none but a great artist can supply ; but the florid passages, truly brilliant though they be.Are all what is termed 'grateful'

— that is, they lie well under the fingers, and repay with interest whatever labonr they may have exacted from the player. Herr Bitter was enthusiastically applauded, and recalled twice after his masterly performance."— Morning Post.


The triumphant success achieved by the revival of Gluck'a Orfeo at the Theatre Lyrique in Paris last winter, suggested to Mr. Charles Halle the production of another master-piece of the illustrious and too-forgotten composer,'at the Gentlemen's Concerts in Manchester. Mr. Halle had many chefs-d'oeuvre to select from. He chose Jphigenia in Tauri.% one of Gluck'a latest dramatic works, and unquestionably one of his grandest. Iphigenia is Tairu was written expressly for the Grand Opera of Paris, and was produced in 1779. The subject forms a sequel to the opera Iphigenia in Atdis, written to an adaptation of Racine's traaedr of that name, and brought out at Vienna a year or two after Gluck had declared bis new dramatic style in Orfeo and Aktiti. Iphigenia in Tavris was not at first eminently' Successful; it grew, however, upon the Parisian public, and was held in high estimation for many years.

This is not the place to discuss the question why Gluck'a operas have never awakened any sympathy in British audiences. We might suggest, as a reply, that British, audiences have seldom had an opportunity of testing their likes or dislikes. It is certainly very questionable whether operas in which long recitatives eoasfctute an integral and important part of the score would erer become- popular in this country. To the musical thinker, these sublime dialogues and soliloquies have a meaning and a purpose beyond what they convey to the ear, and suggest thoughts that transcend even the most entrancing melodies. But mixed audiences must be pleased through the senses; and until the operatic public become homogeneous, we fear there is little hope for Cluck's lofty inspirat ions attaining a wide popularity.

Certainly nothing was left undone by Mr. Charles Halle on Wednesday night to recommend Jphigenia in Tavris to the hearers. An admirable band and chorus were engaged, and tie

Srincipal parts of Iphigenia, Pylades, and Orestes, were sustained y Miss Louisa Pyne, Mr. Wilbye Cooper, and Mr. Santley, with Miss Susanna Cole and Miss Theresa Jefiferys as Diana and the Priestess. i. - .. ■. ■ • ■ •

The performance was a decided success, so much so, that it is announced for ^repetition on the 4th of July- There were fire encores, two being awarded to the chorus, " Chorus of Scythian.*" by the male choir, and "Hymn to Diana," toy the female choir. Miss Pyne sang the long 4nd arduous music of Iphigenia with ■untiring energy, and exhibited the beauty ofMr voice and perfect style throughout. Mr. Santley was extremely powerful in tie grand declamatory music of Orestes,—more splendid singing indeed we have not heard for years, from native or foreign artist,

— and Mr. Wilbye Cooper, as Pvlades, was highly intelligent and effective, while Miss Susanna Cole and Miss Theresa Jefferysbotn acquitted themselves honourably in the small but important parts of Diana and the Priestess.

Mr. Charles Halle" was received with immense cheers, both on his entrance and retirement from the platform, in which the band and chorus joined heartily. His dibnt in this metropolis as a conductor is an unprecedented success.' 1 • ■ ■


, . . J {Communicated.)

The Orpheonists will arrive during the afternoon of the 24th. western line of France has several special trains appointed to leave Paris between 9 and 11 p.m. on Saturday night, and five, or if needed fix, large steamers will await the trains at Dieppe, arriving at London Bridge station by several special trains in two relays from Newhavcn, about one and eight o'clock. The northern line of France have appointed special trains to leave Paris at 11-30 p.m., and three extra steamers will await the arrival of the passengers at Calais and Boulogne, reaching the London Bridge station of the South Eastern Railway in the course of the following afternoon. It has not been found practicable to make use of the offer Of the Peninsular and Oriental Company to send specially one of their steamers to Cherbourg, from the circumstance of that port being connected with Paris by only a single line of rails, and the government of France strictly prohibit excursion trains being run on lines thus eirenmstanccd. The two new hotels in the Islington Cattle Market — buildings of enormous capacity — are being fitted up with beds for a large body of the Orpheordsts, and it is probable that the North London Railway will afford the means of conveyance daily to Fenchurch Street, whence the distance is short to the London Bridge Station. To ensure the general arrangements being understood by the Orpheonists on their arrival, one hundred commissionaires, selccted'from the officers of each society, Will precede them: these will arrive in London on Thursday night.1'1'"'>'" •"•'■■U tlA .i-m-M m \t

That the preparations for the decoration of the Great Orchestra may not be interrupted, it was closed to the public immediately aftor the great dinner of the Scots Fusilier Guards on Wednesday. Running round tbxi back of the orchestra will be fixed the names of each department of France in which the members of the musical societies are resident. Between the names is a large gilt eagle, surmounted with tricoloured flags, the, intermediate spaces being filled in with tricoloured escutcheons or shields. Wreaths of evergreens and flowers, and groups of palm trees and exotic shrubs occupy the lower portion of the back of the orchestra, interspersed with which are busts of celebrated men of France. In front of the organ emblematic devices are being prepared by Mr. E. T. Parris, whose labours in connection with the restoration of the interior of the dome of St. Paul's nre w ell known. A matter of interest will be the exhibition of the banners and emblems of each society. These will be arranged along flic rising front of the orchestra; many of tbem are magnificently embroidered and decorated. Ia the middle of the great orchestra will be< ranged the Band of the Imperial Regiment of Guards. In front a number of harpists will bo stationed, who are engaged to accompany the chorus written expressly for the occasion by M. HsUevy, who it is anticipated will, with other members of the French Committee of Patronage, visit this country with the Orpheonists. Both the band and the harpists have been placed as near possible to the front, because nlthough the full choruses can be id in any part of the vast locale in which the Festival will be held,

as po heard

the extreme delicacy of the wind instruments of the Guides Band will render the possession of reserved seats in the forward blocks desirable.

In addition to accompanying the vocal music in each day's selection, the Band of the Guides will perform selections from their extensive repertoire; and as the arrangements for the audience will be the same as at the Handel Festival, this celebrated band Will be heard with the attention which was not possible on the occasion of the I'iHe' for the Patriotic Fund in October 1854.

As a conclusion it may be fitting to notice tha formation of an influential committee of members of parliament, selected irrespective of political views, who have kindly undertaken to render any assistance in their power to the Orphoonjsts, on production of their special passports, at such places of public exhibition or industrial character as arc not usually open to visitors. A committee room for this purpose has been established at 4 OA Palace Yard.

The stay of the Orpheonists is limited to one week; they will leave England on the first of July, the three performances being fixed for Monday 25th, Tuesday 2f.th,'aud Thursday 23th June.


(From the Midland and Northern Counties Hera!J).

Tat. week, which commenced with the festivities and sports of Whitsuntide, is to be further enriched, for the lovers of rational recreation in Newcastle, by a visit from Dr. Mark, and bis famous band of juvenile musicians. The musical enterpriscjwith which the name of this gentleman is so worthily associated Is not a speculation, but a mission ; and the doctor himself is not a speculator, but an apostle. It is important for the public to bear this distinction in mind, because by losing sight of it — and classing Dr. Mark with the thousand and one caterers for the amusement of the people who overrun the country, producing disappointment more frequently than satisfaction, and viti.iting instead of elevating the popular taste <y the character of their entertainments —the public runs the chance not only ol losing the opportunity of enjoying a high musical treat, but of advancing the interests of a highly

meritorious undertaking. Whitsuntide has for the time being put a period to political debate. The parliamentary mill is at rest ; and although topics of vital interest to mankind are turning up with every new minute, in Italy and other quarters of Continental Europe, the discussion of these can at least wait the passage of our brief holiday. Dr. Mark conies with his music at an appropriate season, and as we believe his enterprise capable of producing no small amount of social benefit to the people of this country, and because the history of that enterprise is intrinsically an interesting one, we may do worse than lay a brief outline of it before our readers.

Dr. Matk is a native of Germany, but it is long since he adopted England as his home j and it is also long since he perceived that although the musical education of his adopted country had been sadly neglected, her sons and daughters had musical capabilities equal to the Germans, the Italians, or any other people.popularly supposed to have been more highly gifted by Apollo. To a gentleman of musical tastes, and musical culture, this fact could not be long in revealing itself, for the national music — using the term national in its widest significance as comprehending the three kingdoms — furnishes sufficient evidence of the fact that the divine art has been successfully, if not universally, cultivated in these realms. The question which Dr. Mark proposed to himself, and which for twelve years he has been attempting to solve, Was whether it was not possible, by a proper system of education, to inspire all classes of the community with a love of music, and bring its refining and elevating influences to bear more directly, and with greater force, upon the domestic life of the people? It is quite certain, as we learn from history, sometimes incidentally, and sometimes by more direct testimony, that centuries ago music was found more frequently among the household gods of all ranks than it is at our own time. Ellis, Gibbons, Morlcy, Wilbye, Wilks, Bennct, Boyd, Bull, Dowland, Ford, and Ravenscro't, keep the old centuries of English social and religious life vocal; and while musical performances on a scale of magnificence, considering the circumstances of the times, which might make Englishmen of the present age, familiar as they are with Handel commemoration concerts and other Sydenham thiracles of a musical kind, open their eyes, were provided fi r the entertainment and at the expense of the great ones of the kingdom, the inmates of lowly cottages, both rural and urban, had sufficient culture in the musical art to enable them to lighten the labour of the day, and relieve the monotony of their unoccupied evenings with the charms of song. The madrigals of the Elizabethan era attest the skill of the English composers of the period, and must have required no mean performers to do them justice, and tlie masques which in that and the two succeeding reigns were so frequent in the houses of princes and nobles, entertainments which may be described as a combination of the drama and the opera, had a powerful influence in cultivating a teste for music among all classes. The object of Dr. Mark was, and is, to create a universal demand for music of a high order of excellence, and to cultivate a universal faculty of performing it. Why should it be confined exclusively to the Church, the theatre, the concert-room, or the houses of the wealthy? Might not the members of a working-man's family be trained so as to sing and play with intelligence and taste, and might not the humble abodes of these be rendered more cheerful, more happy, les3 pervious to the attacks of intemperance, rudeness, bad temper, and the other evil spirits which attack the ignoiant and the unoccupied? "Stimulated by a love for music," suys Dr. Mark, in an address to the Mayor and Corporation of Manchester, which we have before us, "stimulated by a love for music, which I have cherished since my childhood, and an ardent desire to bring its heavenly influence within reach of all classes of society by disseminating a taste for music umong the rising generation, I adopted music solely as a profession fcr carrying out my scheme. I began with composing and teaching music. I soon discovered that the method hitherto pursued was greatly defective, which prevented the genius of the pupil being properly developed. I then imposed upon myself the task of constructing an entirely new system upon a more simple and more effective basis." The new system was first tested at Bristol, upon little Bristol boys, in a musical conservatoire which the doctor established there for the purpose. The children attended in the evenings, and received gratuitous instruction, aud by-and-bye a juvenile band was formed, and concerts given in Bristol and neighbourhood which surprised and delighted all hearers. It was something entirely new, and as wonderful as it was novel, to see mere children perforin on instruments with a skill and effect which would have put many performers to the blush of six times their age, and ten times their training; and the success that attended these concerts, although not quite so great as their merit deserved, was sufficient to encourage Dr. Mark in his labours. In 1854 he recognised the AngloFrench alliance by dressing his corps of juvenile musicians in English and French military costume. Ultimately the Bristol institution was given up as being too limited a field; and as the new enterprise was intended to be national in its dimensions, its originator betook himself to the manufacturing districts, organised a band of boys selected from all quarters of the three kingdoms, and proceeded in his work with an energy and enthusiasm which could have been sustained only in consequence of its basis being laid on an intense love of his art, and which could not be damped by professional jealousy upon the one hand, nor temporary failure on the other. The purpose of Dr. Mnrk was to establish musical conservatoires in every important town in the United Kingdom for little children, so that the study of music might become a branch of national education in the humblest schools. For years he has prosecuted his work, travelling through England, Scotland, and Ireland, explaining r.nd illustrating his system by lectures and the performances of his juvenile band, and testing the sincerity of his professions by admitting to his entertainments crowds of the poorer children either gratis or at merely nominal prices. The establishment of the lloyal College of Music and the Manchester Conservatoire of Music in the great metropolis of cotton are practical efforts, which have been crowned with a large measure of success. The Royal College is intended for pupils from all parts of the country; but none but pupils from Manchester, Salford, and neighbourhood are admitted to the Conservatoire. The pupils in the latter establishment receive instruction in vocal and instrumental music in evening classes, either on payment of a moderate subscription or on condition of their services being given if required by the head of the institution j or in evening classes, through the assistance of voluntary contributions. Orphans Whose parents belonged to the musical profession, and poor children who have special musical talents, receive in the Royal College of Music a musical and general education, board, lodging, and clothing free of all expense, until they are fourteen years of age, when they are either apprenticed to a trade or remain in the college to be trained as musical professors. It will thus be seen, from the outline wc have given of Dr. Mark's mission, and of the means he has adopted in carrying it out, that it is one which deserves in an eminent degree the support of the public. Wc hear that up to last year he had spent 50,000/. upon it, and so heavy are the expenses attending the management of the Manchester institutions, in consequence of many pupils being educated either partly or wholly free, that, were it not for the supporf the doctor meets with in his musical tours through the country, we do not see how the institutions could bo kept up. This support, however, is not so liberal as it might be, and at his last visit here a few months since was by no means so liberal as it ought to have beeu. The series of concerts to be given to-day and to-morrow we trust to see well attended. The concerts themselves will, wo have no doubt, be of great merit, for Dr. Mark and his "Little Men" never cause disappointment, and the mission in which he is engaged is one that ought to command the sympathy and the assistance of philanthropists of all orders.

Cottinoham. — The opening of the grand organ at Cottinghnm took place last week. Special trains were run from Hull and Beverley, and at the morning service there was a very good attendance. In order to give greater effect to the services, arrangements had been made for the choir of Beverley Minster to attend; and in the morning and evening full choral services were performed. Divine service commenced at eleven o'clock, A.m., being opened by a symphony from Haydn on the new organ, by J. Williamson, Esq. (Mayor of Sonth Shields). The prayers and lessons were read by the Rev. C. Overton, vicar; the litany by the Rev. Mr. Birtwhistle. At the communion service, the Revs. T. M Macdonald and Mr. Garwood officiated; and the sermon was prcachod by the Rev. T. M. Macdonald, incumbent of Trinity Church, Nottingham. The rev. gentleman took his text from Revelations, xxi., 3—5. The musical services consisted of two voluntaries hy Mr. J. Rogers, of Doncaster, on themes by Sebastian Bach; the Venite; Psalms (Fecton and Corfe); Te Dcum and Jubilate (Dr. Whitfield); anthem, "Give the Lord honour," Kent; Sanctus (Joraclli); Kyrio (Dr. Camidgc); Gloria (Jackson); the Hundredth Psalm, and concluding extemporaneous voluntary, by Mr. Rogers. The powers of the instrument were fully tested by Mr. Rogers, who expressed himself of opinion that it is one of the finest in England, reflecting great credit on the builders, Messrs. Forster and Andrews. It would be invidious to particularise the quality of any portion, all being in such perfect condition. The mechanism, though tested to the utmost by Mr. Rogers, worked uniformly well. The congregation of Cottingham church have, therefore, abundant reason to be proud of this addition to their beautiful village edifice. Amongst the company present were the Rev. Canon Wroy, the Rev. Messrs. Kinnear, Brown, and Monk (Holy Trinity Church, Hull); the Rev. Mr. Cooper, Driffield; the Rev. Mr. Escell, Beverley; the Rev. Mr. Sandars, incumbent of Skidby Church; Benjamin Haworth, Esq., and family; Mrs. Bark worth; Thomas Ringrose,

Esq., and family; John Ringrose, Esq., and family; Thomas Voase, Esq.. and family, Anlaby Honse; Mrs. Birtwhistle and family, &c. The collection at the conclusion of the morning service amounted to £75.8».9A Evening service commenced at half-post six o'clock, and the sermon was preached by the Rev. C. Overton, vicar. The choral serrica consisted of Psalms (Beckwilh and Purcell); Magnificat and Nam Dimittis (Dr. Whitfield); anthem, "God is our hope and strength" (Dr. Greene); 33rd Hymn (York); the Hallelnjah chorus performed in a style which electrified the congregation, and voluntaries by Mr. Rogers and Mr. Williamson. The Beverley choir were very effective. The total collection amounted to £106. The church vss crowded in the evening, and Mr. Rogers played gloriously. Mr. Williamson is a good amateur organist; and being a large subscriber (he mil bis father give £500 towards the organ) was asked to play the fint voluntary.

Belfast.(From our correspondent.)—An interesting selection of pieces from various masters was performed on Monday, the V 1th inst, at Holy-wood Church, in a most masterly manner, by one of our resident organists—Mr. F. J. Robinson. It is a remarkable fact that, whereas bo: five or six years ago there was not one iirst-clasg organist in this modem Athens, now we have teveral: and it proves what rapid strides music is making amongst us, that people will now listen to Bach with attention', and, indeed, seem to perceive that there is a "fitness" in his musk, which they can scarcely see in Rossini's prayer from Most in Egifo, "played on all the stops," alternately, for Divine Service. The foUoiring was the programme of Mr. Robinson:—Sonata (D minor),Bach; adagio (sestet, Op 81), Beethoven; fugue (C major), Bach; Jerusalem (St. Paul), Mendelssohn; toccata and fugue (D minor), Bach; S&nU Maria, Marcia Religioso, and allegro animato, Meyerbeer; allegretto, (Hymn of Praise), Mendelssohn; fugue (E minor). Bach. Oar nee hall — to be called the Ulster Hall — is being built; and from the completeness of tho plans prepared by the Company's architect, Mr, Barre,we have reason to believe that for convenience and comfort, especially to the artittes, it will equal, if not surpass, anything in the United Kingdom. In size, it will be within two feet of the Birmingham Town Hall. The directors were unfortunately not in a position to complete the long-impendirfg purchase of tho Panopticon Organ until too hit; however, they are determined that its loss shall only be a pecuuiary one, and that we shall really have a grand instrument, one that will be is keeping with the hall, and a credit to the town.

[merged small][merged small][merged small][ocr errors][ocr errors]

THE MUTUAL LIFE ASSURANCE SOCIETY, 39 King Street, Cheapside, E.C.-A.D. 1831.—The TWENTY-SIXTH ANNUAL REPORT, Cash Account, Balance. Sheet, Ac, arc now rcaJy, anaraifre h»d on written or personal applicstion—Caaaiia l»OAi.t,. Actuiry.

TVTEW SONGS by J. W. DAVISON, "Rough wind

A_N that moanest loud" (sung by Mr. Santicy at the Monday Popular Concerts), ••Swifter far than Summer's flight," (sung by Miss Palmer at the Monday'"F"* Concerts)- "False friend, wilt thou smite or weep," lleatrice's song to toe « (sung by Madame Sainton-Dolby, at the Monday Popular Concerts, St. James s Hsiii. are published by Cramer, Beale, and Co., 201 Regent Street.

The above Songs form Nos. 1, 2, and 3 of Vocal Illustrations of Shelley.

"Mr. Santley was encored in one of tlieihorongbly picturesque and poetical semap of Shelley, by Sir. J. W. Davison, meutioned a week or two since. His song, • »»(■ wind that moanest loud,' Is a thoroughly good song."—Ainentrumt. ,

'• Madame Salnton-Dolbv's greatest etTorts were callert forth by KeWSSoaaj 'Nieht' song and Mr. J. W. Daviaon'a ' Falae friend, wilt thou amile or weep i«" Shelley's •Cenei'), to both of which she did the amplest justice. Tb

weep' (Iress

ona of'the most poetical and beautiful of the"'Vocal'liiuatratiorn of sicllS^'i-ed by Mr. Davison many years ago. and which, though rarely heard no<se»s far more sterling merit than nine-tenths of ihe most admired songs of the day A more intellectual treatment of the words could not well be imagined. Mr Davison has completely caught the spirit of the poetry, and heightened ita beauty by the potent ctnrau which belong only to the sisterjart. 'False friend, wilt thou 1111110 or ween ' suaj v

[ocr errors][merged small]
[merged small][merged small][merged small][ocr errors]




[ocr errors]
[ocr errors]
[ocr errors]


Sung by Madame Sainton-Polby. s. d. | JANET'S CHOICE, by CLARIBEL ....

................................ Brissac, Jules ....... “BELLA ADORATA," Morceau de boudoir ... ... 3 01 THE SKIPPER AND HIS BOY, by Miss GABRIEL ............... Diehl, Louis ......... " REINDEER GALOP” ... ... ..

30 IT WAS FIFTY YEARS AGO, by HATTON.......... Dawes, Albert ....... “AULD LANG SYNE,” with Varlations

- Sung by Miss Parepa. Ditto ............... “SOUTHDOWN POLKA". ... ...


23. 60. Guenée, L. ............ “ LA CHASSE,” Morceau de Salon ...

DREAMLAND, by CLARIBEL....................................................................... Greville, Hon. Mrs. “BALLABILE MILITARE” .. .. Holmes, W. H. ...... “HIGHLAND ECHO" . ...

Sung by Miss Poole. Ditto ................. “INSPIRATION," by Wolf (Selections, No. 1)

when YOU AND I Were YOUNG, by ALLEN ............. ........... 23. Ditto .................. " GAIETY,” by Handel (Selections, No. 2)

10 I REMEMBER IT, by CLARIBEL.... Holmes, Miss G. ... “AIR,” with Variations ... ... ... ... ...

Sung by Madame Weiss. Ditto .................. “LES ETOILES ET LEUR LANGAGE"

THE BIRD OF SONG, by HATTON..............

.................. 2s. Harvey, R, F.......... “PENSEZ A MOI," Reverie ... ... Monreal, G............. “ LA DIVINA MELODIA,” Nocturne ...

Sung by Mr. Thomas, Mr. Weios, and Mr. Winn. Mornot, Eugène..... “A SUMMER'S DAY” ... ... ... ... ...


..................... 35.

THERE'S NOTHING LIKE A FRESHENING BREEZE, by RANDEGGER, 38. Ditto ................. "A SOMMER'S EVE » MeKorkell, C. ...... “MARCH". ... ... ...

Song by the Christy'. Minstrelo. Pech, James ......... " MAYDEW POLKA" ...

Richards, Brinley ..

Ditto .................. " ETHEL," Romance ... ... ... ...
Scarlatte, D. ......... “FUGUE in G MINOR,” from bis. Harpsichord

BOOSEY & SONS, Holles Street.
Lessons, as played by Miss Arabella Goddard ... 26













[blocks in formation]



Original Part-Songs, Choruses, fe.

Allen, G. B............. “ THE MEADOW GATE"

Aguilar, E. ........... “SYMPATHY” ... ... ... ... ... ... 20
Baker, H............... " THE STEPPING STONES”...
Balse, M. W. ........ “ I LOVE YOU” ... ...
(Ditto ................ " I'M NOT IN LOVE, REMEMBER" ...

Ditto ................. “OH, TAKE ME TO THY HEART'AGAIN” ...
Cobham, M... AWAKE, LITTLE PILGRIM," Sacred Song ...

Price Threepence each Number,
Foster, Allce ......... “MERRILY, MERRILY SHINES THE MORY"... 2
Ferrari, A. ............ " EIGHT BALLADS,” Nos. I to 8, each ... ...
Lütz, W. Meyer ... “ UNDER THE LINDEN TREE" ... ... ...

I "Welcome, Heavenly Peace," Four-part Song" ... ... ... Frank Mori Ditto ................ “MERRY LITTLE MAUD" ... ... ... ...

2 “The Bud is on the Bough," Four-part Song--(Male Voices) ... Frank Mori Meyerbeer, G......... “ASPIRATION," Cantique for Six Voices, and Bass

3 « And were they not the Happy Days ?” Four-part Song .. ... Frank Mori

4 “Beauty is dead," Four-part Song " Solo

. Frank Mort . .. .. ... ... .. ..

... ...

... 5 “Who shall be Fairest ?” Four-part Song ... ...

Frank Mori Macfarren, G. A. ... “THREE FOUR-PART SONGS,” for Male Voices,

6. “O spare my Tender Flowers," Four-part Song ...

Frank Mori each ... ... ... ... ... .. 91 and 7 « Ripe Strawberries," Five-part Song ... ... ...

J. L. Hatton MeKorkell, C. ...... “ FLOWERS, LOVELY FLOWERS” ...

8 “Smile, O Heaven, upon the Day," Chorus (Satanella) ... M. W. Balse Mori, Frank............ “ WERT THOU MINE” ... ... ...

9 “ Sancta Maria,” Chorus (Dinorah) ... ... ... ... Meyerbeer Osborne, G. A. ..... " THE DEW DROP AND THE ROSE"

10 “A Legend of the Rhine," Part Song (Male Voices) ... .. Henry Smart Reichardt, A. ......... “ GOOD NIGHT” (Wiegenlied).. ...

11 “ The Hostess's Daughter," Part Song (Male Voices) ... ... Henry Smart 12 “ The Rover,” Part Song (Male Voices)

... Henry Smart Richards, Brinley ... “THE SULIOTE WAR SONG" ...

13 “ The Three Wishes," Part Song ... ... ... ... ... ... J. Pech Ditto ................. “THE HARP OF WALES" ... ...

14 “O'er the calm and Sparkling Waters," Chorus (Les Vépres) Verdi Ditto ................. • THE BLIND MAN AND SUMMER".

15 “Lowly we do bend before Thee,” Quartet (Dinorah) ... ... Meyerbeer Stirling, Elizabeth... “LEONORA" ... ... . .. ... ...

6 | 16 “A Capstan Chorus," Chorus (Male Voices) ... ... ... ... Henry Smart Schloesser, A.......... “I WOULD I WERE A BUTTERFLY” ... ... 26 17 “The Return from the Tavern," Chorus (Dinorah) ... ... Meyerbeer,

18 " Good Night," Quartet (Martha)... ... ... ... ... ... Flotow

The above handsomely bound, price 5s.

London : DUNCAN DAVISON and Co. 244 Regent Street, South Corner of

Little Argyll Street.

Dépot Général de la Maison Brandus de Paris.


« ElőzőTovább »