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MUSIC AND THEATRES IN PARIS,
(From our own Correspondent.) I Must give you a few lines this week relative to the two very successful debuts that have just taken place in Paris, for, though one of the debutants is not exactly, in theatrical parlance, a debutant, still the part he has been obliged in so unexected a manner to assume, entitles him to be so called. Monsieur Troy, for it is of him I speak, has been obliged, by the continued indisposition of Faure, to fill, on a short notice, his part in the Pardon de Ploermel, and his success has brought overflowing houses; the first time he assumed the character of Hoel, he was naturally more agitated than at the other representations. At the Italian Opera it is really a debutante who has appeared. Mdlle. Marie Bathe, a pupil of Duprez, who as yet bad only made her appearance, in a little theatre built by her master intheRueTurgot. Muchhasbeen expectedofher,andall expectations havebeenfullyrealised. In appearance she is tall and slender, with an expressive face, and is extremely dramatic in her acting, The part of Arnica, in the Sonnambula, suited her admirably; rarely has the exquisite music of Bellini been interpreted with better taste or more feeling. The young artist was recalled several times. Gardoni, who played the part of Elvino, shared the honours of the evening, and indeed Elvino is one of his best parts.
Giuglini bade his farewell to the Parisian public in the Trovatore. He was warmly received, and many tokens of regret for his departure mingled with the plaudits. Roger, who has been performing at Havre in the Dame Blanche, and ■ Lucia di Lammermoor, has concluded definitely his engagement with the Italian Opera here, and on the 2nd of February he will appear in Lucia di Lammermoor, and Mademoiselle Bathe will play also the principal part. After his second performance at Havre the artists of the theatre pre sented Roger with a wreath of oak-leaves and gold. The Huguenots has just been performed at the Grand-Op6ra, and Madlle. Brunet, who has been singing lately at Marseilles, has made her debut here in it. On Saturday next, the opera of MM. Cremieux and Gaspars, Ma Tante doit, will be brought out at the Theatre-Lyrique. A great deal is expected of this work. The parts are confided to the following artists:—Mad. Ugalde, Madlle. Durant (a debutante), and Madlle. Vade, MM. Meillet and Legrand. Meanwhile Mad. Carvalho has been performing with all her original success the part of La Reinelopaze. A young artist, Madlle. Marimon, has been playing her part of Cherubino, in the Noces de Figaro.
We are to have some very good concerts soon, amongst others, Richard Wagner is going to give one on the 25th at the Italian Opera. He will have several fragments of his own works performed, amongst others the Tann/iaiiser and the Lohengrin. M. Alard and M. Franchomme have commenced their concerts; they are held in the talons of Pleyel, Wolff, &c, and will be given every fortnight. Your old favourite, Jullien, also intends giving a series of grand concerts. They will commence in March; he intends giving parte of the oratorios of Eli, The Messiah, The Creation, Paulus, &c. And under such an able hand, they will doubtless meet with great success. Emile Prudent has left for the provinces, where he is going to give some concerts. M. Fiorentino has just received the order of the Maison Ernestine from the Grand Duke of Saxe-Coburg-Gotha; and the King of Bavaria has just given a hint it would be well for you to follow. He has charged people of competent authority with the mission of selecting from amongst young musicians (of the country) those who appear possessed of the most ability and merit, to be placed under the especial patronage of the government.
The Pardon de Ploermel is being performed with ever-increasing success in the provinces and in' various foreign towns, Brussels, Metz, Stutgardt, Mannheim, &c. The programme of the Society de Concerts ran thus on the first performance :—1. Symphony in A minor of Mendelssohn. 2. Motet of S. Bach (double chorus). 3. Concerto of Haydn, performed by Norblin. i Pris du fleuve itranger, by Gounod, translated from the psalm Super flumina. 5. Lauda Sion; duet by Cherubini, sang by
Mdlle. Ribault and Mdlle. Rey. 6. Symphony in C major of Beethoven. The piece by M. Gounod, which has already been performed in the concerts of the Orpheon, produced a great sensation on the audience.
In the budget of 1860, the chapter under the head of which is mentioned the subventions to the Imperial theatres, and to the Conservatoire de Musique, the figure is stated at 1,705.000 francs; the sum given as indemnity or help afforded to artists, dramatic authors, composers and their widows, at 137,700 francs; that for encouragement and subscriptions exceeds 200,000 francs.
The very interesting and important work of Mr. F. J. Fetis, the first volume of which has juat been published, fulfils in every way the expectations formed of it. Its title is "Biographic Universelle des Musiciens et Biographie Gfenerale de la Musique." Numbers of books have been written on this theme, but none that can be compared to the very complete work now given us, for in this case the talents of the writer via with his merits as artist.
DEATH OF THE BLIND FIDDLER.
The wind still rudely whistled, as the Fiddler sat, alone;
Still more melodious grow the tongue, the chords more brilliant grew,
"Almighty Father of mankind! to Thee, to Thee I cry j
Thus sung the sufTrer, weary, and thought himself alone;
Enraptured was the blind man's soul—lie cried, " I see, I see
"But, hark! what sounds now greet mine oar ?"—" Celestial sounds are those:—
A spirit said: "Farewell, all fear j farewell, your many woes:
Rude Boreas madly whistles on; the sleet and hail fast fall,
The Fiddler's frozen body rests in silence by the wall:
A placid smile beams o'er his face, as calm in death he lies,
His soul has gained its long-sought place—its mansion in the skies!
Dublin—(From a Correspondent).—A very pleasant concert was given by the University of Dublin Choral Society on Friday, 13th inst. A copious selection from Der Frietchutz formed the first part. The second comprised Spohr's Hymn to St. Cecilia, for soprano solo, chorus, and orchestra; "Aurora che sorgira," Rossini; "Breezes of evening," a short cantata by Oberthur; "Soave sia il vento " (the terzetto from Cosifan Tutti), Mozart; choral glee, "Now the bright morning star," Greville; "Le Papillon," song, Blumenthal; choral glee, " To all you ladies," Callcott; and for finale, Bishop's excellent and spirited chorus (with solos), "Vengeance we swear." The band performed their part well, and under the guidance of the conductor, Dr. Stewart, executed the FrieschiUz overture with great spirit. They were equally to be commended in the rendering of the works by Sponr, Oberthur, and Sir H. Bishop, which had not been heard before. All passed off well: the next concert is intended to be of sacred music, and to contain works by Handel, Mendelssohn, and Spohr, which have not been performed here previously.
X. Y. Z.—The meetings of societies not being public transactions, all such announcements are, essentially, advertisements.
J. W. P.—Most certainly the instrument named in the letter of our correspondent has been used in the manner he alludes to. Can J. W. P. be unacquainted with the admirable concerto, with orchestral accompaniments, composed by Herr Moliqne for Siffuor Itegondi, and played in so marvellous a manner by that gentleman f
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THE MUSICAL WORLD.
LOXDON, SATURDAY, January 21st, 1860.
Whether our rulers take into sufficient account the claims to consideration of our fiddlers has long been a moot question. The counsel of this journal to each individual member of the harmonious calling has always been, and always will be—" Musician, help thyself." There is no palpable reason why music as an art, or professors of music as artists, should enjoy less consideration in England than is their just due, and than they enjoy elsewhere. That such is the case, howover, would appear from the persistent howl with which musicians in this country (like certain grumblers on the other side of St. George's Channel) have, time out of mind, assailed the unapprehensive ear of the body social. For our own part we could never find out wliat they had to complain of. If it is of the want of Government patronage (and it can surely be of nothing else), we own no sympathy with their cry. How is Government to aid them 1 What, indeed, has Government to do with them and their fortunes or misfortunes?
The talk about foreign musicians being so much better off is all moonshine. No foreign musician ever owed anything substantial either to the patronage of Governments or to that of the aristocratic class. We should like to put Mr. Balfe for a year or two on the Esterhazyan rations (which nourished Haydn), or Professor Sterndale Bennett on the salary which Joseph II. thought fit to squander on Mozart. Why, the one would not pay for Mr. Balfe's kid gloves, nor the other for Professor Bennett's (indispensable) "Brougham." In sober truth, Haydn, Mozart, and Beethoven, compared with some of our more prosperous musicians, were little better than paupers; and yet (with all deference to the spirited gentleman whose letter to the Times we ure about to cite) they were cleverer (far cleverer) fellows than any of the race of modern English practitioners, whose sufferings are so frequently paraded by advocates with more tlorid enthusiasm than clear-sighted judgment.
Cite Handel, if you please. Handel made two fortunes; granted: but, except in one or two instances to the munificent Duke of Chandos, whom had he to thank 1 Himself and none other; for by his own genius and his own industry ho amassed both the fortune he squandered in
unsuccessful speculation, and the fortune he was enabled to amass and put by. What—we look at another sort of men —docs Rossini owe to Government patronage 1—what Meyerbeer ?—what Auber? Literally nothing; and yet the first and last have risen from a condition of comparative need to be wealthy among the wealthy, while the second has built an artistic fortune on the top of an hereditary fortune. What these great men have obtained from the liberality of high personages, or from places under government, is a mere flea-bite compared with what they have earned by their own unaided toil.
But let the correspondent of the Times speak for himself:—
"sir,—At a time when the representatives of the country are so soon to meet for the discussion of subjects with the view of promoting the welfare and happiness of tho various classes of the community, I venture to address you, in the hope that I may be able to call publio attention to the fact that an art, which is exercising no small amount of good moral aud social influence, is wholly ignored by the powers that be. I allude to music. While annual motions arc made on many other subjects, and while large sums are annually granted for 'Science and Art,' 'Education/ and other such laudable purposes, there has been no lion, member to bring forward the claims of music, and there have been no grants for that pursuit, which is in itself both a science and an art. And yet, when there is any great national celebration, is not music first thought of, and are not musicians gathered together? Without music, what would such celebration be?
"Look to the great progress that has, during the past few years, been made in Great Britain. In every corner of the land are societies diffusing a better taste, and what good might not be done were but the Government to lend a helping hand to those who so much help themselves? Foreign artists who have lately been in England, after an absence of some years, are astounded when they observe tho great stride that has been made in an art of which they not very long ago deemed themselves the only exponents.
"Though I do not write for the purpose of bringing forward hobbies of my own, but with an earnest hope that the subject may recoivo that share of attention that it merits, still T cannot refrain from suggesting that the first step in tho matter should be the establishment of a Conservatorium, which should be a Government institution, A subsidised theatre should follow.
"The present Royal Academy of Music has undoubtedly done much, good, but the want of something of a larger scale, the management of which shall be conducted on the broadest possible basis, is severely felt. We have among us musicians (I use the word in its most comprehensive application) second to none in the world, and an institution might readily be formed that should offer advantages to students such as no other existing institution could do. The Royal Academy of Arts has enjoyed for a great length of time the support of the Government of the country. Who could possibly regret such support, after seeing the noble collection of English paintings that was drawn together at the Manchester Exhibition? Will not Parliament afford a liko assistance to music?
"I appeal to you, sir, to help the attainment of an object that would conduco so very much to the formation of an English school of music. Years must necessarily be occupied in so great and important an undertaking, but that is only an additional argument in favour of immediate steps being taken to effect its fulfilment.
"A royal commission, or a Committee of the House of Commons, would bring together a mass of evidence that would be most valuable. All that we require is a rallying point—a common centre—to which the attention of musicians may be directed. Thot being obtained, the day will not be far distant wheu an Englishman will bo proud of the musical genius of his country.
"I inclose my csrd, and have the honour to remain, sir,
"Your most obedient servant,
"London, Jan. 12." "musician.
"Look to tho great progress that has, during the past few years, been made ia Great Britain." Precisely. That is what we should do; and mature reflection cannot fail to engender the belief that all is going on well, and that if Parliament will be kind and considerate enough to leave us alone, we shall in the end have little or nothing to deplore— at least, nothing that we shall not be able to amend without the officious interference of meddling and inefficient officials.
Our weak point just now is the national opera; but far off is the day when an English Opera, or an English theatre of any kind, is made to depend upon a Government subsidy. Glance at the Paris theatres (the lyrical theatres we mean), and see what they are doing. Notwithstanding the Government subsidy, both the Academie-Imperiale and the OpdraComique, are staggering—on their last legs indeed, unless Meyerbeer, an alien, shall come to help them.
Apart from the national opera, which is as yet with us a chateau en Espagne, musical institutions generally are flourishing. A successful professor in this country amasses thrice the income the most prosperous foreigner can obtain in his own, while such undertakings as the Sacred Harmonic Society, the Monday Popular Concerts, the Philharmonic Societies, old and new, the various Choral Societies, the Musical Union, are as unknown (if not indeed impracticable) in continental capitals as they are great facts in our own metropolis.
And then—to crown all—we have the Musical Society of London, without exception the most important institution of the kind in the world. Let us first see what that is going to achieve, before resigning ourselves to despair, or handing about the begging-box ("faisanl la quSte") in company with "A Musician."
We have no wish to publish anything that may have an injurious effect on what are called the festivities of the season, but far from that, we are convinced that we shall receive the thanks of all who love pleasure and hate to be bored, if we make use of an influential organ like the Musical World, to protest against what.are called " musical parties." Literary parties—which must not be confounded with meetings of literary men—are bad enough, and so, in fact, are all large assemblies at which it is proposed to do anything that the majority of the educated classes cannot do with readiness and ease. Now the only things in the way of entertainment that every one can do, are, to drink, to gamble and to dance ; and as the two first of these accomplishments are confined for the most part to the male sex, it follows that, as a general rule, wherever ladies are present, there should be dancing—which, once commenced, means not mere saltatory exercise, but opportunities for conversation. If the dancing could be suppressed, and the sort of conversation for which it is now made the pretext, be retained without the gymnastics, that would, doubtless, in the opinion of many persons, be an improvement; but civilisation has not yet said its last word, and we have no doubt that, some day or other, before Mr. Bright is prime minister, we shall hear of balls without dancing, which will, in fact, be what actual conversazioni ought to be, but are not.
Card-playing leads not only to conversation, but sometimes to conversation of a very animated kind—except where the stakes are merely nominal, when it is an occupation fit only for lunatics, who if they were not playing at cards, would be playing with straws. But we have already erased gambling and drinking from the list of permissible enjoyments (and for what we hope will be considered a very polite reason); and having said our say about balls, it only remains for us to explain on what ground we object to parties of a special character, and especially to those at which it is expected that a certain proportion of the guests will play or sing.
Literary and artistic reunions have, at least, this advantage
—that the distinguished visitors who are intended to give the necessary artistic or literary colour to the entertainment, however much they might bore you if you were to listen to them, do not holloa to you. Now that is just what musical visitors make a point of doing. There is no escaping them, and as they are almost invariably amateurs of imperfect education, the punishment they inflict is very severe. Sometimes a professional artist is induced to come, but it is sure to be either a gentleman who has just lost his engagement, or a lady who has never had one—or, worse still, both. Why should people whom you would not willingly hear in a ooncert-room, and certainly would not tolerate at the Opera, be allowed to attack you in private life, where there is no possibility of redress, either with the pen or with the hiss? Ought not something to tell them (and the Musical World will do so, if nothing else), that they have no right to torment those who, not intending to be musicians, have certainly done tliem no harm 1 If perverse and xmcontrollable amateurs choose to meet from time to time, for purposes of mutual annoyance, and make no endeavour to entrap others not of the same class into their society, surely there can be no objection to such an arrangement; and we would as soon think of remonstrating with them, as of interfering between the Benicia Boy and Tom Sayers. If A attacks with the piano, B will reply with the violin, C knows that he can take his revenge with a song, and D, E, and F will be sure to pay all three of them out with a glee. All this may be cacophony, but it is at least fair play, as long as amateurs, who can defend themselves after their own manner, are alone invited to be present. When, however, unoffending singers are enticed to these unseemly exhibitions of want of skill, positive cruelty is committed. It must be remembered that amateur playing and singing is not like amateur acting. In bad tragedy or comedy we may be amused by the awkwardness and incapacity of the performers, but there is no fun whatever in bad music.
Now Pantagruel was sitting at his ease in the long parlour of the Edinburgh Castle, smoking an huge pipe, the fumes whereof rolled down the Strand, and produced one of those fogs that have lately caused such suffocation in Cockayne, when in rushed Panurge in the most frantic manner, upsetting the ample glass, whence his master imbibed vast quantities of toddy, and breaking off the large bowl of his pipe.
"Profane wretch !" bellowed Pantagruel, "What meanest thou by thus spilling the sacred drink and scattering the holy incense? What should hinder me from placing the bowl of my pipe on thy pitiful head, and thus causing theo to expire amid lingering tortures!"
"The cause of thine abstinence in that particular" said Panurge, "is the fact, that the bowl in question hath rolled out of the door, and down the steps of Waterloo Bridge, till it hath descended hissing into the bowels of Father Thames. But even were it otherwise thou wouldst not harm me, for lo! I bring thee good tidings."
"The tidings must indeed be good," muttered Pantagruel, "to compensate for this heavy damage, wherein is comprised the cost of a broken tumbler."
"Know then," shouted Panurge at the top of his voice, "that Augustus Mayhew and Sutherland Edwards have written a new play, and that it is now acted at the Strand Theatre."
"The same who wrote The Goose with t/ie Golden Eggs?"! asked Pantagruel, gasping with anxiety. "Even so," replied Panurge.
"Then come to my arms—bearer of the most blessed tidings that ever consoled the melancholy of desponding mortal!"— (and at these words he gave him an huge hug, that squeezed him as flat as a pancake, so that he only returned back to his ownfigurebyslow degrees)—"Yea, thou mightest have smashed all the plates in the world that bear the willow pattern, including the big one at Albert Smith's—thou mightest have spiflicated all the squares of glass in Regent-street, and I would have made good thy dostructiveness, and also have given thee the sixpence, which I declare I owe thee now. Well do I mind me, how my soul was refreshed and invigorated by the same Goose witfi tike Golden Eggs. Night after night did I go to draw wisdom from that sparkling fount, so similar to the ancient Hippocrene, and on every occiision did I retire to rest a wiser and a better man. But tell me of the new piece. What is it called'? Is it quite equal to that wondrous tale of the stuffed goose?"
"It is called Christmas Boxes," said Panurge, reflectively, "and I think I must avow that it scarcely equals that marvel of dramatic literature."
"I should opine not," said Pantagruel, with a resigned expression. "We scarcely look for a mountain with two summits of the same altitude. Two tops of Mont Blanc, with two Albert Smith's to attain them, and two Egyptian Halls, wherein to recount the exploit, would be beyond the just limit of human hope."
"Yet is Christmas Boxes well worth a profound study," remarked Panurge. "The personages involved in the fable move in a higher region of society than that immortal goose, and in more polished fashion do they point their stern moral."
"And that moral is "said Pantagruel.
"Sound as the prosperity of Mr. E. T. Smith's pantomime," observed Panurge; "or the success of the Dead Heart at the Adelphi, or as that of Kobert Brough's new burlesque at the Olympic. It showeth us the great inconvenience of vicious propensities, when they are accompanied by a straitened pocket."
"A most healthful moral too!" exclaimed Pantagruel. "Let them that are penniless have the virtue of abstinence from cakes and ale. Execrable is the clerk who dares to be vicious on £70 a-year. As for me, who own broad acres in Eldorado, regarding the Koh-i-noor as a vile pebble, which would disgrace my garden walk, and having in my commonest snuff-box more precious metal than is to be found in the whole stock of Roskill and Hunt,—shall I curb my inclinations,—shall I put a restraint on my pleasure? Not I. As Hamlet, who built the Princess's Theatre, says, "Let the galled jade wince"—I will sit and smilo cheerfully at the new work of Mayhew and Edwards, and applaud, while they lash the peccadilloes of sinners with limited incomes."
"I must tell thee one joke," said Panurge, wistfully. "There is a maid-servant, who when her master upbraideth her, signifieth the narrowness of his means by declaring that 'he could not have blow'd her up more had she been the man come for the poor-rates.'"
"Instantly give me a pen and a sheet of paper," cried Pantagruel, beaming with admiration.
"Why?" asked Panurge.
"That I may instantly write to Mr. W. S. Swanborough, and tell him I engage a private box for the entire run of
Mayhew and Edwards' new play. The one touch of nature thou hast revealed showeth me that it contains a mine of wisdom.
We observe with regret that our light literature is gradually acquiring a certain religious tinge, which, however novel, is by no means appropriate to that species of composition. We need scarcely assure our readers that we are not of those who associate satire with profanity, and we are convinced that the prayers of a humorist avail as much as those of the most serious poet or philosopher. But neither should pray in public, and the impropriety and ridiculousness of doing so ought, one would think, to strike none so forcibly as those writers who belong to the same intellectual class as the author of Tartuffe. We are not surprised at Mr. Tupper, or at any other notoriously dull writer, praying in print, but that authors of acute wit and delicate comic perception should fall into such an error is astonishing. It is amazing that the incongruity which attaches to a mixture of light literature, however pure, with adoration, however unemphatic, should escape writers whose peculiar talent must include as one of its most essential elements a keen sense of the incongruous. It is intelligible that solemn verses should be published from time to time in Punch, if only as a foil to the articles whose style is characterised by a deliberate intention to amuse. But what can be the meaning of the devotional tone which marks the concluding paragraphs of Mr. Dickens's entertaining "Haunted House "— the Christmas number of All the Year Bound. What signifies the psalm published in the Christmas number of the Illustrated Times? Why did a hymn appear in the Christmas number of the Welcome Guest i Mr. Dickens terminates his interesting ghost-stories with this "Christmas greeting" which he "derives from the 'Haunted House,'" and "affectionately addresses with all his heart to his readers." This is the greeting: "Let us use the great virtue, Faith, but not abuse it; and let us put it to its best use by having faith in the great Christmas book of the New Testament, and in one another." With such an example as this, there is no saying where the taste for religiosity in out-of-the-way places will stop; and unfortunately it has since met with further encouragement in what we should have considered a most unlikely quarter, and from no less a personage than the editor of the CornhUl Magazine. That phenomenal publication contains an article —the last in the number—which to our mind is the most graceful that ever proceeded from Mr. Thackeray's pen; but it terminates with a prayer for success—a sort of ora -pro nobis addressed to each of those saints the readers— which, naturally and sympathetically as it is introduced, seems to us scarcely justified by the importance of the object prayed for. If it were a question of Mr. Thackeray's health or genius—which, as long as it lasts, must speak to us in some form or other-—it would be different, and no appeal for our prayers would be necessary; but the CornhUl Magasdne is, after all, only a commercial speculation, and though we are delighted that it has succeeded, we should never think of praying for its success.
If this new inclination towards the devout should spread from literature to other forms of art, the effect would be very objectionable indeed, for we should have picture exhibitions and concerts opened with prayer. We are afraid already that the directors of the Glasgow .Festival will take the hint from the Christmas periodicals already alluded to, and implore the blessings of Providence on their monster music meeting. All appeals to a higher power on behalf of such enterprises have, however, been shown, over and over again, to be fruitless. Indeed there is only one instance on record of prayers for money being attended with success, which happened when Peter, wishing to pay tribute, caught a fish, and found within its mouth one solitary piece of silver.
MUSICAL SOCIETY OP LONDON. The first Conversazione of the season was given on Wednesday evening in St. James's Hall, when between seven and eight hundred persons were present. The Hall was fitted up with great magnificence, as at the former conversazione, under the management of the secretary, Mr. Charles Salaman, and exhibited, among other things, some rare and antique musical instruments, manuscripts, and articles otvertu, together with some valuable and curious oil-paintings, and water-colours. In the course of the evening several pieces of music were sung or performed by various professional and non-professional members of the society. Three choral part-songs were given, viz.—Mendelssohn's " Season of Pleasure;" Mr. Henry Smart's "Joys of Spring," and Mendelssohn's "Opening buds." Luca Marenzio's Madrigal, "Lady, see on ev ry side," was also sung, as well as Mr. Henry Smart's choral trio (three-part song ?) "Kest thee on thy mossy pillow." Both Mr. Smart's pieces were encored.
Miss Preeth played a solo on the pianoforte, and Mr. Lazarus an adagio and polonaise (Baermann) on the clarinet. Miss Parepa sang Verdi's "Sempre all' Alba," from Giovanna cFArco, and Mr. Santley the stornello "Giovinettina della bella voce," by Angelo Mariani.
The Hall presented a splendid appearance, the ladies and gentlemen being costumed with especial caro as for the ball-room; and the whole aflair passed off with exceeding brilliancy, constituting a most iclatant inauguration to tho season.
THE POTTER TESTIMONIAL. A Meeting of the subscribers for the testimonial to Mr. Cipriani Potter was held (by the permission of the Committee of the Royal Academy of Music) in the concert-room of that institution on Monday last, at which Mr. Lucas, the treasurer of the Testimonial Fund, was unanimously called to the chair. The minutes were read that were passed when the Professors of the Academy met at the institution, by the request of Mr. Macfarren, on the 26th of September last, to consider the offering of some token of esteem and regard to their late Principal, on his retirement from the office, after twenty-geven years service. The Report of the Committee for carrying out the Testimonial was then submitted to the meeting as follows :—
"Tour committee havo the pleasure to report that their willing exertion* to carry out the resolutions of the meeting held in this room on the 26th of September last, have been rewarded with the most gratifying success. They hare made known the purport of those resolutions by means of public advertisements, of circular letters, and of personal correspondence, and they have been delighted to find that the spirit which unanimously actuated the meeting of September has been yery cordially shared, not only by the past and present students and professors of the Academy, but by many persons not thus related with the institution, who were equally anxious to join in an expression of admiration and regard to the distinguished musician, who, as principal and professor of the Royal Academy of Music, has exercised an influence not less powerful than beneficial [on the progress of his art in this country.
"The subscribers' list contains 284 names, and the total sum at present subscribed amounts to £498 'as., of which £400 haB been already received by tho treasurer. Tho various means employed to invite subscriptions have occasioned an expenditure, which, so far as can at present be calculated, amounts to £31 Is., the balance of £467 4s. is therefore available for the testimonial. Your committee believe that the amount of this balance may even yet bo greatly increased, and they found their belief on the possibility that there may be still many persons who would wish to subscribe but have not yet been canvassed— upon the likelihood that some members of the Academy, now residing abroad, to whom invitations have been addressed, have not had time to remit their subscriptions—and upon the fact that sum of £100 has been subscribed since the first of January, on which day it was generally understood that the list would be olosed. Your committee will therefore suggest tho desirability of extending still further tho limit to the period for receiving subscriptions.
"There is the best reason for supposing that both the forms of testimonial discussed at the September meeting, namely, the founding an exhibition, to be called "The Potter Exhibition " (for the reduction of a student's expenses in the Academy), which should be open to annual competition, and also a personal present, with a list of the contributor's names, would be eminently agreeable to Mr. Potter, but especially the former, respecting which he has expressed his feelings to more than one member of your committee. With regard to this idea of an exhibition, however, your committee have collected many valuable opinions, to the effect that, desirable as it is to perpetuate Mr. Potter's name in connection with the Academy by means of such an endowment, it is equally desirable that any money so appropriated should not be merged in the funds of any institution, but should be so invested that some musical students should, for all time, be annually chosen in Mr. Potter's name, to receive the dividends of this money to assist in defraying tho cost of study.
"Your Committee congratulate you upon the warm feeling that has been expressed, and upon the large sum which is its substantial expression j and they are proud to think that, in whatever form, you aro able to offer Mr. Potter a testimonial worthy of your attachment to him, as an artist and as a friend, and worthy of his acceptance as a token of your esteem."
The following resolutions were adopted :—
I. Proposod by Mr. Alfred Gilbert, and seconded by Mr.'George Parker, of Northampton :—That the Report be received.
II. Proposed by Mr. Harold Thomas, and seconded by Mr. Jewson:— That a sum not exceeding £100 be expended on plate, which shall be presented to Mr. Potter; and that the names of all the subscribers be engrossed on vellum and handed to him, together with the plate.
III. Proposed byMr.W. Macfarren, and seconded by Mr. H.Groves:— That aftor paying the expenses, and deducting the cost of the plate and the engrossment, the balance of tho money subscribed be vested in the hands_ of three trustees, for the endowment of an exhibition, to be called "The Potter Exhibition," to assist in defraying the expenses of a student in the Royal Academy of Music, which exhibition shall be open to annual competition for a lady and a gentleman in alternate years, the candidates being students of the Academy who shall havo been not less than two years iu the institution; and that, if ever the Academy shall cease to exist, the trustees for the time being appropriate "The Potter Exhibition" (which shall still be open to annual competition alternately for ladies and gentlemen), to assist in the education of a musician elsewhere.
IV. Proposed by Mr. Jewson, and seconded by Mr. A. Gilbert:— That Mr. Lucas, Dr. Sterndale Bennett, and Mr. G. A. Macfarren be appointed Trustees of tho Exhibition Fund; and that these gentlemen and their successors, when any vacancy occurs in their number, to appoint some person to fill the place.
V. Proposed by Mr. C. L. Stevens, and seconded by G. L. Newson:— That the subscription list remain open till the day of presenting the plate to Mr. Potter.
VI. Proposed by Mr. H. D. Banister, and seconded by Mr. H. Goodban: —That the presentation of the testimonial take place in May next, when Mr. Potter will be invited to meet the subscribers.
VII. Proposed by Mr. C. E. Stevens, and seconded by Mr. G. Pucker:—That the thanks of this meeting bo voted to the Committee for their exertions in carrying out the resolutions passed in September last.
VIII. Proposed by Mr. Dorroll, and seconded by Mr. H. Goodban :— That the special thanks of the meeting bo voted to tho Honorary Secretary for the particular pains with which he has promoted the