GOD SAVE THE QUEEN," for Four Male Voices,

as sung by the Choir of 3000 FRENCH ORPHEONISTS, at the Fêtes given in the Crystal Palace, Sydenham, arranged especially for them by CAMILLE DE Voss, is published in score, price 6d., by Duncan Davison and Co. 244 Regent Street, W.

WILBYE COOPER'S NEW SONG, "The Meadow

Gate," composed expressly for him by GEORGE B. ALLEN, is now published, price 2s. 6d. by Duncan Davison and Co. 244 Regent Street, W.

ELLIOT GALER'S NEW SONGS, composed expressly

for him by W. MEYER LUTZ, are just published, viz. :-"Under the Linden Tree" and "Merry little Maud," price 2s. 6d. each, by Duncan Davison and Co. 244 Regent Srteet, W.

NEW PIANOFORTE MUSIC Published this day.

LEOPOLD DE MEYER.

SOUVENIR DE NAPLES, Fantaisie Originale, performed before the Queen... 58.

SONGS BY J. L. HATTON.

s. d. 2 6

KUHE.

"I LOVE YOU," New Song by BALFE, composed

expressly for Mr. SIMS REEVES, and sung by him with the greatest success, is published, price 3s. by Duncan Davison & Co. 244 Regent Street, W.

"GOOD NIGHT," New Song by A. REICHARDT,

and German Words, and a Portrait of Herr Reichardt, price 2s. 6d. by Duncan Davison & Co. 244 Regent Street, W.

"THE BRIDE'S FAREWELL," by EDOUARD ROECKELL,

is now published for the Pianoforte, price 2s. by Duncan Davison & Co. 244 Regent Street, W.

PART-SONG MISCELLANY,

A COLLECTION OF

Original Part-Songs, Choruses, &c.

BY CELEBRATED COMPOSERS.

8

9

"Smile, O Heaven, upon the Day," Chorus (Satanella) "Sancta Maria," Chorus (Dinorah)

...

...

10

"A Legend of the Rhine," Part Song (Male Voices) 11 "The Hostess's Daughter," Part Song (Male Voices)

12 "The Rover," Part Song (Male Voices) "The Three Wishes," Part Song

Meyerbeer

Henry Smart

15

14 "O'er the calm and Sparkling Waters," Chorus (Les Vėpres) "Lowly we do bend before Thee," Quartet (Dinorah) 16 "A Capstan Chorus," Chorus (Male Voices) 17 "The Return from the Tavern," Chorus (Dinorah) 18" Good Night," Quartet (Martha) ...

...

Henry Smart Meyerbeer

The above handsomely bound, price 5s.

BOOSEY & SONS' MUSICAL LIBRARY, Holles Street.

HE MUTUAL LIFE ASSURANCE SOCIETY, ANNUAL REPORT, Cash Account, Balance Sheet, &c., are now ready, and may be had on written or personal application.-CHARLES INGALL, Actuary.

18

"A Capstan Chorus," Chorus (Male Voices) "The Return from the Tavern," Chorus (Dinorah) "Good Night," Quartet (Martha)...

Henry Smart Meyerbeer Flotow

The above handsomely bound, price 5s.

"A SUMMER'S EVE'

2 6

"MARCH"

BOOSEY & SONS' MUSICAL LIBRARY, Holles Street.

[EW SONGS by J. W. DAVISON, "Rough wind that moanest loud" (sung by Mr. Santley at the Monday Popular Concerts); "Swifter far than Summer's flight," (sung by Miss Palmer at the Monday Popular "False friend, wilt thou smile or weep," Beatrice's song in the Cenci Concerts); (sung by Madame Sainton-Dolby, at the Monday Popular Concerts, St. James's Hali); 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 the thoroughly picturesque and poetical settings of Shelley, by Mr. J. W. Davison, mentioned a week or two since. His song, 'Rough wind that moanest loud,' is a thoroughly good song."-Athenæum. "Madame Sainton-Dolby's greatest efforts were called forth by Mendelssohn's 'Night' song, and Mr. J. W. Davison's False friend, wilt thou smile or weep' (from The latter work is Shelley's Cenci'), to both of which she did the amplest justice.

one of the most poetical and beautiful of the Vocal Illustrations of Shelley,' composed by Mr. Davison many years ago, and which, though rarely heard, possess far more sterling merit than nine-tenths of the most admired songs of the day. A more intellectual treatment of the words could not well be imagined. Mr. Davison has com pletely caught the spirit of the poetry, and heightened its beauty by the potent chirais which belong only to the sister art. False friend, wilt thou smile or weep,' sung to perfection by Madame Sainton-Dolby, was enthusiastically applauded.". Morning Post, April 26, 1860. Cramer, Beale, and Chappell, 201 Regent Street.

Aguilar, E.

"SYMPATHY"

...

Baker, H................

Balfe, M. W..........

"THE STEPPING STONES" "I LOVE YOU"

Ditto..................

"I'M NOT IN LOVE, REMEMBER"

2 6

HE CONSERVATIVE

2 0

The Viscount Ranelagh.

Richard Malins, Esq., Q.C., M. P. William David Lewis, Esq., Q.C. Conveyancing Counsel-John Fish Pownall, Esq., and Abraham Boyd Purcell, Esq. SHARE DEPARTMENT.-Interest payable half-yearly on shares is 5 per cent. per annum, with power of withdrawal of subscription at ten days' notice, and participation in any bonus declared above the ordinary interest. No partnership liability. The taking of land is quite optional. A share paid a year in advance costs £5.41s. 6d. ; eompleted share is £51. 3s. 6d. ; Twenty shares, £1,023. 11s. Od. ; and so on in proportion, calculating £51. 3s. 6d. for each share. The system is adapted for all classes of the community, and investors can communicate by correspondence as well as by personal

attendance.

DEPOSIT DEPARTMENT.-Sums, large or small, may be deposited at the Offices daily. Interest allowed is now 4 per cent. per annum, payable half-yearly, Withdrawals of Deposits paid every Wednesday, under £100, and upwards at fixed periods. Investors under the Deposit Department do not become Members of the Society. Remittances may be made in cheques, half-notes, Post-office orders, &c LAND DEPARTMENT.- Freehold plots on valuable Estates are on sale, the taker of each plot being allowed to borrow seven-eighths of the purchase-money, payall in easy monthly instalments. Plans of the Estates, price 6d. each, or 7d. by post. Ad vances for Building on Estates on liberal terms.

Prospectuses will be sent free of charge to any part of the world.

CHARLES LEWIS GRUNEISEN, Secretary,

MUSIC AND THEATRES IN PARIS.

July 11, 1860.

NOTHING of any commanding interest has occurred in the operatic world. At the Grand Opéra, Les Huguenots has been revived for M. Urcart, the Belgian tenor of whom I wrote a short time since. He still maintains the favourable impression he created in William Tell, and people seem to think he will be permanently engaged. By the way, the "normal diapason " now established at the Grand Opéra does not work over well, and is especially obnoxious to the bass singers. The "Pif-paf," for instance, is, with the new pitch, in some parts beyond the range of any but the most exceptional voices. The character of the music is also considerably modified by the change, and in some instances, as for example, the air of the "Couvre Feu," loses not a little of its original colour.

The manager of the Opéra-Comique has done a famous stroke of business for his establishment by the engagement of M. Roger, whose return to the scene of his early triumphs will no doubt be hailed with delight by the frequenters of this house. The round of characters he created here with such marked success, await his touch to revive with all their original freshness and charm, and after the Midsummer glories of the Grand Opéra, which some say he had better never have struggled for, he will glide calmly and gently into a sort of "latter spring." Mad. Faure (the wife of Faure now engaged at your Royal Italian Opera) and Mad. Ugalde are also re-engaged, but the presence of these ladies is too familiar, and their talents have been too exhaustively reconnoitred by the audiences of the Opéra-Comique, to cause the announcement to be received with much enthusiasm. Mad. Ugalde has already re-appeared in Galathée, and it is just to say that her reception was in the highest degree flattering. Mad. Faure will not make her re-entrée till next week, in Boieldieu's Petit Chaperon Rouge.

M. A. Dumas' (senior) new comedy, of which I gave you some account, L'Envers d'une Conspiration, produced at the Vandeville, has been withdrawn for the present, and three little comedies in one act by way of small change have been substituted. The first is Le Trésor de Blaise, by M. Eugéne Muller, a young author who has already distinguished himself. The subject is pastoral, not however of the conventional style of the Opéra-Comique, but a real and genuine picture of rustic life. The second is entitled Toute Seule, and is by MM. Plouvier and J. Adenis; and the third La Femme doit suivre son mari. They are both pleasant little pieces and well acted.

A grand military spectacle, called Le Bataillon de la Moselle, and distributed into thirteen tableaux (significant subject! ominous number!) has just been produced at the Théâtre-Imperial du Cirque. The vicissitudes of the band of republican heroes who fought in rags and wooden shoes under old Moreau was a good subject to flatter the patriotism and military ardour of the nation, and the time for such a production is artfully chosen when their Imperial chief is casting greedy glances towards the Rhenish frontier. The matter is not however very skilfully treated, and is encumbered with some hacknied plot in which a number of the exiled French nobility at Coblentz take part. The constant alternation from the tumult of battle to tedious conversations in gilded saloons is anything but artistic, and produces a most monotonous effect. Neither has much pains been taken in getting up the spectacle, in which old properties and costumes are worked up with sublime indifference to their adaptation to the subject or period. The enemy conquered at. Valny, for instance, appears in the Austrian uniform. Nevertheless, the effect of the ragged soldiery in wooden clogs, "purshuing of their shindies, upon Moselle shore" is very picturesque and inspiriting. Whether it will make the people in love with a Rhenish expedition is another matter. At the Gaité there has been produced a new drame, in five acts, after the fashion of the Bohemiens de Paris. It is entitled La Petite Pologne, which is the designation of a locality inhabited by a population of petty hawkers, itinerant vendors, rag pickers, kennel rakers, and all who pursue those nameless avocations in the public street which form the social stratum immediately above absolute mendicity. Instead of making this mode of life, as in the first-named piece, however, the training-school of crime, the authors of the new drama attribute to the inhabitants of La

Petite Pologne the candour, simplicity, and virtue of the golden age. The picture may not be drawn with photographic fidelity to nature, but at any rate it is not sickening and repulsive, as are the representations of low life sometimes produced by those who pique themselves on their realism, and as much good is no doubt done by seeing what these poor creatures might be, as what they really are. The story which is unwound in this locality, and amidst this phase of society, is a common-place-enough affair, in which there is a convict killed in the first act, and that convict's son, an amiable youth, extending a protecting arm over an innocent little flower girl, the daughter of one of his father's victims.

Among the small items of intelligence interesting to your musical readers, I may mention the engagement of M. Nilmann, the German tenor, for a short period, at the Grand Opéra. He is engaged expressly to sing in the Tannhauser of Richard Wagner. Mlle. Tedesco will return to the Opéra in September, and make her first appearance in Le Prophète. She is afterwards to play Olympia in Herculanum. I hear also that Meyerbeer is expected to arrive in Paris very shortly. One or two letters which I have received from Italian correspondents enable me to furnish you with a few scraps of news as to what is going on at the principal theatres in the land of song. At Genoa there have been several performances for the benefit of the Fund in support of the Sicilian Insurrection. The last deserves especial notice as being signalised by the appearance of the celebrated Signor Tamburini. He sang the cavatina from La Sonnambula, the duo in Il Barbière, and the air of Maometto. His reception was enthusiastic; the applause which greeted him being no less addressed to the patriotic Italian citizen than to the celebrated singer. His vocalisation was marvellous, and took all by surprise, for the ear is no longer accustomed to such a deluge of trills and runs as was poured forth from the singer's throat with the most perfect ease. After the first effects of astonishment had subsided, bursts of applause followed one upon the other, and positively overwhelmed the last representative of the old florid school of Italian singing. Tamburini did not, however, exhaust the appreciative power of the audience, who in turn awarded to Signor Agrone and to Signora Parodi, and to all the other artists and dilettanti, who contributed their services on the occasion, their due meed of applause. Signor Bottesini has been engaged at La Scala, in Milan, where he is to produce his opera L'Assedio di Firenza, and Mad. Fiorentini is engaged to play the principal part. The San Carlo, at Naples, is not in a very satisfactory condition. I Foscari, lately produced there with Guicciardi, met with a cool reception from the inferiority of the execution, and a few days after Don Pasquale encountered a complete fiasco.

A

The sisters Ferni have been giving a concert at Parma, where their admirable talents have been duly appreciated. The programme for the autumnal season at the Opera of Bologna contains the names of the following artists:- Mesds. Borghi-Mamo and Luigia Gavetti-Regiani, and MM. Lodovico Graziani, Antonio Morelli, Mario Ghidi. M. Rota is the ballet master, and the principal danseuse Mlle. Adelina Plunkett. Signor Beneventano, the barytone, is engaged for the approaching season at Trieste. propos of Italian singers, there is a paragraph in a French theatrical paper announcing the return to Paris of Mr. Lumley from a voyage of discovery in the Italian peninsula. The object of his search has been an artist of that peculiar transcendant class such as, according to the journalist, he has a special patent for unearthing and bringing to light. The amiable ex-manager is, in the complaisant imagination of the writer, represented as periodically taking dips in the Hadriatic of Italian lyrical art, and after a period of breathless suspense and fear lest he should never be seen or heard of again, triumphantly emerging with a pearl of price such as Cleopatra would not disdain to dissolve and drink off as in that draft of early purl recorded in history. This feat he has again accomplished; but the journalist, and perhaps the diver also (for diver's reasons) mysteriously say mum as to the name of the newly-discovered treasure who is to keep up the succession of prodigies of which Jenny Lind and Piccolomini have been such bright links. I have no reason, however, for concealing the fact that the newly fished-up virtuosa is Mlle. Galetti.

Mlle. Kenneth, whom your theatrical readers will better identify

as the daughter of "little Kenneth," erst the proprietor of the well-known "little shop" at the corner of Bow Street, where many dramatic wits and theatrical stars were once wont to lounge and exchange the newest coinage of the mint of mirth and fancy, has just returned from a successful engagement in Spain, notably at Madrid, where she sang with Tamberlik, and at Barcelona. Mlle. Kenneth has been trained in the traditions of the old Italian school of grand opera; her vocalisation is excellent, and she possesses the power of dramatic expression.

I hear from Pesth that the Italian Opera has commenced there. Norma, with Mlle. Lagrua as the Druid priestess, has produced quite a sensation. This lady is described as remarkably beautiful, and as possessing a voice of pure and rich quality, with a sympathetic character quite thrilling in its effect. Her presence is noble and graceful, and exactly suited to the heroines of the lyrical drama; and both by her acting and broad grand style of vocalising, exercises an extraordinary power over her audience. How is it neither Paris nor London have hitherto had the benefit of this artist's vaunted ability? How has she escaped Lumley the pearl-fisher? did he dive not deep enough, or too deep?

The Imperial Theatre of St. Petersburg has secured Signor Graziani, the barytone, for two years, commencing next season. The contract was only signed last Thursday. Mad. Rita Bemardi Fabricca, the wife of the Maestro Fabricca, an admirable singer, and moreover a very pretty person, is also engaged at St. Petersburg, for the third time. She is now in London, having left Paris a short time since. Mlle. Lotti della Santa has just passed through Paris on her way back from London to her country house in the environs of Milan. There is some talk of Mad. Miolan-Carvalho taking an engagement at the Royal Lisbon Theatre. Signor Fabricca's visit to London gives some colour to this rumour, as he is charged with organising the operatic troupe for the San Carlos at Lisbon.

I have the melancholy intelligence to record of the death of the pianist and composer, Goria. It is reported that he has not left any money behind him. This is strange, for it is known that large sums were made by his compositions. One publisher confessed to realising 3000 francs a year by one piece alone, and his nocturne and étude in E flat produced a profit of 30,000 francsthat is to say, the publishers! Sic vos non vobis! oh luckless herd of scribblers, whether musical or literary.

MUSIC IN RUSSIA.

THERE was a certain Mongik named Ivan. Without consulting Ivan's inclination, his master placed him in the Conservatory, where the professors, according to custom, first taught him to "sol-fa." When he was considered sufficiently advanced in that branch of art, it was unanimously decided that, as there was a want of clarinet-players, he should study the clarinet, and he was consequently admitted into a special class. The hour fixed for the first lesson having arrived, he took his place among his comrades, all drawn up after the military fashion, like troops without their arms, their heels close together, their toes well turned out, and their thumbs touching the seams of their trousers. Ivan remained perfectly motionless, but his comrades stepped out, one after the other, from the ranks, to practise upon their clarinets, from which there issued a host of notes out of tune. The second lesson went off in exactly the same manner.

"What is the reason," enquired the Professor, "that you do not try like the rest?"

"Because they have not given me a clarinet,” replied Ivan. That same evening the Professor wrote to the proper authority, explaining the posture of affairs, and requesting the funds necessary for the acquisition of the coveted object. The funds were granted, but as in Russia the control exercised over the national expenditure is illusory, the result was that the money, having to pass from hand to hand, was lost on the road, and Ivan waited a very long time in the predicament already described. At last, one day, after the hours devoted to study, he said to his

Professor

"Is it not soon coming?" "What?

"The clarinet."

66

"I have asked for it and am expecting it every day."
Suppose you renewed your request?"
"That is against the rules."

Ivan had, consequently, no clarinet during the eight years he stopped at the Conservatory. When his period of study had thus expired, and his certificate been obtained, he was immediately admitted, by right, into a theatre, as second-clarinet player. He had his place assigned him in the orchestra, where he found a stool, some music, and a desk, but not the slightest signs of an instrument. Under these circumstances, he went up to his conductor, and said,

"Where is it?"

"Where is what?"

"Why, the clarinet."

"That is no business of mine. They ought to have provided you with one."

Thus, every evening, Ivan seated himself on his stool, before his desk, and turned over the leaves of his part, though he never played a note. At the conclusion of the performance he packed up his things and retired, like those around him, wiping his forehead. At the expiration of six years of punctuality, according to the prescribed rules, he was raised to the rank of first clarinet, and for eight more continued to perform his new duties with all the zeal of assiduity, that is to say, without missing one performance, coming early and leaving late. Some curious amateurs used to remark, however, that this instrumentalist invariably forgot to bring his instrument. At last, the period for his retirement arrived. It was found, by reference to the books, that he had always done his duty punctually, without ever having subjected himself to a fine, and so his pension was fixed at 900 roubles a-year, a sum which he has received up to the present day. It is not necessary to test the truth of the foregoing, but we wish to defend the conduct of a country, which for ages has made enormous sacrifices for artists, without caring about their origin, and thus endeavouring to improve the natural taste for music.

In Russia, every one sings. The singing of the Russian infantry is especially deserving of notice. In each company, a selection is made of the soldiers possessing the greatest natural aptitude. These men are charged with the task of forming the choruses. When the commander of a battalion perceives his troops are exhausted, after a long march, he orders the singers to place themselves at the head of the column and strike up their national airs. Directly they hear them, the troops forget fatigue, hunger, and thirst. In instrumental music the Russians have obtained results equally worthy of notice. One evening, in 1751, Marshal Narischkin, Grand Intendant of Woods and Forests, after having been out hunting since the morning, was seated at the foot of a rock, listening to the uniform sounds the hunters produced from their brass horns. Near him was the first horn-player in the Imperial service, J. A. Maresch, born in Bohemia, in 1719. "What are you thinking about?" inquired the Marshal, observing his companion's absent air.

"I was thinking," replied Maresch, "that, if I chose, I could vary those intonations."

"Try," said the Marshal.

His

The next day, Maresch gave orders for thirty-seven horns of different sizes, comprising a range of three octaves. He entrusted these instruments to certain musicians whom he caused to rehearse on them for a long time, far from any habitation, so that he might be sure of the result, previously to letting them perform in public. When he thought his musicians sufficiently advanced, he solicited permission for them to play before the Court. prayer was granted, and the Ismaïlow hunting lodge, near Moscow, was placed at his disposal for the experiment. At the appointed time, the audience enjoyed an extraordinary treat. The horns, perfectly tuned, were so arranged as to furnish, like the pipes of an organ, all the notes necessary for executing any piece with accompaniment. One performer played C, the next D, and so on, their precision being such that all the sounds seemed to proceed from one instrument. The performance was both characteristic and vigorous, and the inventor had not to wait long for reward. Since that time, this branch of the art has made great progress. Tubes twelve feet long have been made for the lowest notes, while