sisted of two closed organ pipes, five feet long, one of which had a moveable plug, a monocord, and a second-pendulum. When, according to a graduated scale, the plug of the one pipe was driven in, so as to raise the intonation, a beat, resulting from the dissonance, and allowing the vibrations to be counted, was established between the two pipes. The monocord served to find the required intonation on the pipe and the moveable plug, and by the second-pendulum the time in which the vibrations were produced was known. It was by this process that the author succeed in discovering the number of 436 vibrations in the A of the diapason of the St. Petersburg orchestra.

In 1802, Haydn's Creation was performed at the St. Petersburg theatre. Mozart, Grétry, Beethoven, and Boieldieu obtained, respectively, their share of roubles and admiration. We now enter upon the period of our contemporaries. As we all know, the Emperor Nicholas made great sacrifices for musicians. He sent for singers from all points of the compass. On the evening of their first appearance the Emperor used familiarly to offer his hand to the artists behind the scenes. The nobility did not fail to follow their sovereign's example. As the Emperor gave largely, the nobility gave enormously. The most celebrated instrumentalists gain their reputation in Paris and London, but their fortune in Russia. Every one is acquainted with the story of the singer who was under the necessity of accepting a portrait of herself drawn by a boyard. The drawing was not worth a doit, the frame was a somewhat rude wooden one, and the glass was not free from blemishes, which disfigured it. But at the back, to prevent the dust from getting under the glass, there were pasted two bank notes, each for a hundred thousand francs.

Thus we perceive that if Russia has not yet sent her composers into the lists to contend with those of other nations, she, at least, does what she can to encourage all persons of talent, without any false spirit of nationality. Music is her favourite source of enjoyment. She has her conservatories properly organised, her various theatres, her choruses, of irreproachable correctness, and splendid voices everywhere, just as Italy has; while, to continue the impulse given by past ages, she sows a great deal of gold to reap a moderate harvest.

MADAME CLARA NOVELLO.
(Concluded.)

WE all remember the political disturbances that convulsed Europe in 1848; we have all had more or less opportunity of personally observing how every class of society, from the crown to the foot-from kings and emperors and the Pope himself to lazzaroni and chartists-was affected by them. Art was not uninfluenced, nor those who minister to its progress, by these terrible social distractions, and Mad. Novello, like her co-labourer in the cause of beauty, Mad. Sontag, experienced their effects to such an extent as induced her to retrace her steps from the honoured retirement of the privacy in which she had been living to the equally honourable activity of her public career. She re-appeared in Italy, Germany, Spain, and England, renewing every where her former success, and refreshing the memory which had never faded of her former merit. Her powers were in every respect improved by the maturity which her few years of absence from her profession had wrought upon her physical and moral nature, and all Europe has acknowledged her voice to surpass every other in power, purity, and brightness.

Mad. Novello is now about to secede, for a second time, from the exercise of her artistic functions, and her retirement from the public will now be positively final, as the circumstances of the noble house of which marriage has made her a member, having withstood the shock of the most recent and greatest troubles in Italy, are no longer dependent on the vicissitudes of political fortune, and could even her affairs be again involved in the troubles of the time, she has bound herself under a heavy penalty never to sing again in public after her coming farewell.

Mad. Novello is best known in the south of Europe as a dramatic singer,- best in the north for her excellence in the concert-room,-best here, her native home, for her interpretation of the works of the great sacred masters; but, were it not for her all-surpassing reputation in this highest branch of her art, the admiration she has won in England alone on the stage and in the concert room would be sufficient to prove her one of the most distinguished vocalists that have ever sung our language. The speciality of English vocal music consists in our ballads, which require certain peculiarities in the singer, and these of a refined,

poetical, and truly exalted character that have scarcely, if ever, been displayed by foreigners; our English pride, then, in our English songstress must not be unmindful of her interpretation of such ditties as "John Anderson,” “ Auld Robin Gray,” and “The beating of my own heart," which last she was the first person who sung?

To give due resplendency to the setting of this sun of song, a party comprising the most attractive and most various talent of the day engaged to accompany her on her farewell tour, and serve as clouds to catch and reflect the golden glory of her brightness. We are fortunately able to enumerate the purposed partners of her last adieu, and we cannot more appropriately nor more interestingly conclude this account of her career than by giving the names of those who are to share the lustre of its close.

The cloud of first importance may be regarded as an electric cloud, in respect of its overpowering force, and of the brilliancy and the rapidity We need but to which are equally associated with our ideas of it. name Herr Leopold de Meyer, the thunder-and-lightning characteristics of whose pianism have been proved and acknowledged throughout both hemispheres, to establish the verity of our metaphor. Albeit his thunder, though it astounds, never shocks us,—his lightning, though it dazzles, never consumes. An esteemed cotemporary,-whose fiat, whether it condemn an emperor, approve a prizefighter, oppose a ministry, or applaud a pianist, is revered as an oracle no less at the antipodes than here, has recently asserted the following judgment on this artist, "The instrumental selection comprised a grand fantasia for pianoforte alone, composed and performed by Herr Leopold de Meyer, pianist to the Emperor of Austria, and in his particular walk the most extraordinary manipulator' now before the public. This gentleman combines a force and vigour of hand which few have equalled with a delicate lightness of touch and liquid softness of tone that have never been surpassed. He brings these opposite qualities into play with marvellous address, blending or alternating them as the humour seizes him, and with such consistency that while the ear is always satisfied the taste is never offended. M. de Meyer's fantasia-playing, moreover-like his music is quite as original as it is astonishing. He has a vein exclu sively his own, and is indebted to no other source than that of his invention, whether for ideas or for the method of handling them. Making no pretence to be an exponent of what is conventionally termed the 'classical' school, he does not provoke criticism by an imperfect conception and execution of acknowledged masterpieces. He moves within the sphere most congenial to his artistic nature, and he does wisely, for in that sphere he stands aloof from competition. It is not intended by this to insinuate that M. de Meyer would fail if he ventured on higher and more intellectual ground; but at the same time, as sincere appreciators of his really exceptional talent, we should counsel him to leave the great masters' (and especially the old masters') to themselves ; for, in order to ride comfortably over their domain, he would have to invent a new and peculiar bridle to restrain his Pegasus within bounds." Herr Leopold de Meyer has not played in the English provinces since 1845, and thus, since his reputation has been constantly on the increase, his novelty will be no less an attraction throughout the tour than his

talent.

A rain cloud of a chequered April in respect of its tears interwoven with smiles, may be considered the favourite interpretress of gaiety and pathos, Miss Eyles, who, when Mad. Novello had stamped success upon "The beating of my own heart" as a soprano song, sang it a third lower, as a contralto, and was encored in it at every concert during a far-spread tour which lasted for ten weeks, and so universally proved her infallible power of pleasing the very various tastes that distinguish the different districts through which she passed.

We may regard as fleccy clouds the congregated members of the London Glee and Madrigal Union, each adding a share of beauty to the scene, and all combining in a general effect of harmonious softness; to wit, Miss J. Wells, a rising soprano, rising in esteem as much as in voice and in merit; Mr. Baxter, an alto, who does all that can be done to render his happily rare register of voice effective; Mr. W. Cummings, a tenor, who has been as successful in singing alone as in blending his voice with those of his companions; Mr. Lawler, a bass, whose broad declamatory style and fine sonorous voice have been too often heard to advantage at the concerts of our most important institutions to need any bush to recommend them; and Mr. Land, the organiser of the Union, who may therefore be regarded as the fatherland of the party,— whose sweetness of voice and mildness of manner prove him to be a Land flowing with milk and honey,-whose proverbial punctuality makes every one rejoice when he is a Land of promise,-who, were there a peerage of pianoforte accompanists, might well be created a Land lord,

whose merits make those who engage him well off when they become Land owners, whose certainty is such that he nullifies the idea of the geological phenomenon of a Land slip,-who bears so urbanely the

blame due to others, that he may be not inaptly called a Land-scape of his friends, whose ever-smiling aspect teaches us to regard him as a personification of the "Happy Land" celebrated in Dr. Rimbault's ballad,-and whom, having all these qualifications, we may be well satisfied to regard as our own native Land.

It is high time, however, to descend from the clouds, and contemplate the stern reality of Mad. Novello's departure. The country folks will not entirely have the advantage of us Londoners in hearing the last of this favorite vocalist; for it appears that the swan song of her professional life will be uttered here in town, or at furthest at Sydenham, which, as has been proved at the Handel festivals, is accessible to tens of thousands at a time who wish to hear her. Let us hope, too, that before her last adieu, the Sacred Harmonic Society may have the benefit of her singing, at least once, in Messiah, in Elijah, and in Mendelssohn's Hymn of Praise-the unique beauty of her voice is in no instance heard to such infinite advantage as in the brief solo that sublimely heralds the words and the musical subject of the great chorus in this last-named work, "The night is departing," and it is only if we can preserve in our memory the gleaming brightness with which she sings this phrase, that we shall be able to avoid supposing the watchman's warning is fulfilled in her retirement; "The morning will come, but the night

will come also."

THE LATE MR. DRECHSLER.

(From the Edinburgh "Daily Courant,” June 30.)

THE announcement of the death of this talented musician calls for more than an ordinary expression of regret, in which we shall have the sympathy of many readers, to whom the event was equally sad and unexpected. During late years, partly from ill health, and partly from a retiring and sensitive disposition, which made him shrink from display, Mr. Drechsler seldom appeared in public, and we daresay many of the younger generation are ignorant of the loss which Edinburgh and the musical world have to deplore. There must, however, be a large circle who retain the liveliest recollections of musical attainments, unfortunately too seldom exhibited, but which, once witnessed, could not be forgotten. We have been favoured with some particulars of Mr. Drechsler's early life, which we gladly incorporate with those that came within our own knowledge.

Louis Drechsler was a native of Dessau, where he received his chief musical education under Frederick Schneider. In the summer of 1841, when eighteen years of age, Drechsler came to Edinburgh with our townsman Mr. Adam Hamilton (his fellow-pupil under Schneider, and afterwards his brother-in-law), and produced an immense sensation by his violoncello playing. In 1843 he went to London, and in 1845 to Paris, where he cultivated the acquaintance of Franchomme, with whom he became a great favourite. In 1846, while in London, Mr. Drechsler received a command to play at Buckingham Palace before Her Majesty, who, after the concert, conversed with him in his native tongue, and highly complimented him on his performance. From this time he made frequent visits to London, France, and Germany, playing and singing with great success at Vienna, Dresden, Berlin, Munich, Paris, and his native town.

In 1848, with a view to perfect himself both as a singer and a teacher of singing, Mr. Drechsler commenced studying under the first masters of France and Italy, and lastly under Sig. Manuel Garcia in London, whose system of instruction he adopted. At the institution of the "Society of Musical Amateurs" in this city he was nominated to the office of conductor, at which he continued to labour with unwearied zeal, until the meetings of the Society were discontinued. We cannot refrain from mentioning, as a fact strongly illustrative of Mr. Drechsler's character, that he declined to receive any remuneration for his services, being ever willing to advance the cause of music, without regard to personal advantage, and conceiving that he would thereby preserve greater independence of position. Music was to him an art to be loved and cultivated for its own sake, not a trade at which to seek subsistence or aggrandisement. As a violoncello player he was unsurpassed, at least as regards purity and sweetness of tone, combined with intense feeling, and an expression almost vocal. He was scarcely less remarkable for his pianoforte playing. His power of extemporising both on the pianoforte and on the organ was such as to afford the greatest delight to the few who were fortunate enough to hear him, while his musical knowledge enabled him to read from score with facility. teacher of singing (to which he latterly devoted his time), Mr. Drechsler was able and conscientious, following the true Italian method of forming correct and pure tones before allowing the pupil to attempt songs and mechanical difficulties. He was generous and charitable, in the most unostentatious way. Many young professionals, and even amateurs with musical aspirations, received gratuitous instruction and kind sympathy

As a

from him, unknown to any besides. In this city of musical sets, and rival interests, it is not unlikely that some may think our notice too much based on the principle of nil de mortuis nisi bonum; to them we would say, perhaps you only knew the surface, perhaps we knew what was beneath. Although for some time past in failing health, Mr. Drechsler's immediate decease was unexpected. We trust we are not lifting too far the veil of private life, when we add, that his end was calm and peaceful, and that, although sudden, it was not too sudden for him who was taken away.

Letter to the Editor.

THE ORPHEONISTES.

SIR, The English press has rendered the Orphéonistes of France a signal service. Its co-operation in their pacific mission has been most sympathetic and unreserved. Thanks to its powerful influence, and especially to its early exercise, our purely artistic demonstration acquired a significance calculated to produce the happiest results on the friendly relations of the two peoples, and I am proud to take this opportunity of expressing, in the name of the Orphéonistes of France, our profound gratitude for its kind, its invaluable aid. Our deep sense of the obligations we are under for the sympathy which has greeted and encouraged us has, however, been subjected to a very trying ordeal, in consequence of the treatment which some of us have received at the hands of certain parties. I will confine my narrative to my own case, leaving the public to qualify the conduct of the two individuals of whom, I think, I have a right to complain.

I have, perhaps, no right to complain if the proprietor of the El Dorado Rooms, Leicester Square, compelled me to pay for a repast for 1500 persons, at the rate of 1s. 6d. a head, although only half that number partook of the very modest cheer provided for them. I made a bargain beforehand, and it turned out a very bad one for me. Upon the same principle, I presume, it would not be fair of me take exception to the yet dearer hospitality sold to the members of the French press by the proprietor of the Arundel Hotel, Arundel Street, Strand, and for whose entertainment I made myself responsible. It is true I agreed for fifteen persons, and only eleven came; that the price embraced board and lodging; and that the majority of the party were unable to take their meals at the hotel. The loss was mine; the gain was the landlord's. I imagine he has far more reason to be satisfied than I am with the result of our arrangement. Understand me, therefore, that I do not complain of having been kept to my bargain. But I do complain that these individuals took- -as you shall judge-most unfair advantage of me, and did not treat me with that degree of consideration I had a right to expect in the difficult and delicate position in which I was placed.

Though an obscure individual, it was my great privilege, on the occasion of the Orphéonist Festival, to represent some 200,000 of my countrymen associates in the great work of the Orphéon. Any engagements I made on their behalf were sacred. If I did not fulfil them to the hour some slight indulgence might have been extended to me without any excessive stretch of generosity. It fell out that, owing to my presence being unexpectedly required elsewhere at the time I had appointed for the settlement of claims I had never disputed, suspicion took the place of confidence in the minds of the parties in question, who forthwith made me unpleasantly familiar with the sharpest of sharp practice under English law; and this without any kind of warning. Not only was the debt thus considerably increased by heavy costs, but Mr. Williams, the proprietor of the Arundel Hotel, actually went the length of incarcerating me in a lock-up house on Saturday, although I had offered to discharge his claim at the very moment my personal liberty was placed under restraint. Surely, Sir, a few hours' delay in the payment of Mr. Williams's by no means moderate account did not merit the infliction of such an indignity. Mr. Williams's proceeding is the more ungracious, because he had not even furnished me with the particulars of his bill, and I am ignorant of them to this hour. I have paid him, it is true, but under protest.

Happily, Sir, if on the one hand it has been my misfortune to fall in with one or two cases of this kind, it affords me sincere pleasure, on the other hand, to record that in most of the establishments in London, the Orphéonistes have been treated with true British frankness and fairness. Madame Granara, of the Hotel de l'Europe, has been especially considerate. Her house has been open to us at all hours, and was placed at our disposal from the first with the best grace and the greatest possible courtesy.

The press, generally, has shown us so much kindness, that I feel I may confidently solicit the favour of your publishing this episode of our

HER

Advertisements.

ER MAJESTY'S THEATRE. - First Night of La Figlia del Reggimento. CABEL, CIAMPI, CASTELLI, and BELART. Second Appearance of Mad. MARIE CABEL. This evening, July 14, will be performed (for the first time this season), LA FIGLIA DEL REGGIMENTO. Tonio, Signor BELART; Sulpizio, Signor CIAMPI (his first appearance in that character); Ortensio, Signor CASTELLI; Paesano, Signor MERCURIALI; and Maria, Mad. MARIE CABEL (first appearance in that character). Conductor: Signor ARDITI. After which the new ballet of ORFA will be produced, in which Mile. FERRARIS and M. CHAPPUY will appear. Gallery, 2s.; Seats, Half-Circle, 2s. 6d.; Gallery Stalls, 3s.: Pit, 3s. 6d. ; Seats, Second Circle, 3s.; Seats. First Circle, 5s.; Pit Stalls, 10s. 6d.; Private Boxes, from 10s 6d. to £2. 2s to be obtained at the Box-office of the Theatre, which is open daily from 10 to 6. and on the nights of performance until the end of the opera, under the direction of Mr. Nugent.

ER MAJESTY'S THEATRE.-Second Appearance

HER

(for the first time this season) Donizetti's favourite opera of LA FIGLIA DEL REGGIMENTO. Tonio, Signor BELART: Sulpizio, Signor CIAMPI (his first appear. ance in that character); and Maria, Mad. MARIE CABEL (her first appearance in that character). Conductor: Signor ARDITI. After which the new bal et of ORFA will

be produced, in which Mlle. FERRARIS and M. CHAPPUY will appear. On Monday, July 16, will be repeated LA FIGLIA DEL REGGI ENTO. On Tuesday, July 17 (positively for the last time this season), Meyerbeer's grand opera of LES HUGUENOTS, with the following powerful cast:-Raoul, Signor GIUGLINI; Marcel, Signor VIALETTI ; IÍ Conte Nevers, Signor EVERARDI; St. Bris, Signor GASSIER (his last appearance this season); Urbano, Mad. BORGHI-MAMO; Margherita, Mlle. MICHAL; and Valentina, Mile. TITIENS. Conductor: Signor ARDITI. Gallery, 2s.; Seats, Half-Circle, 2s. 6d. ; Gallery Stalls, 3s.; Pit, 3s. 6d.; Seats, Second Circle, 4s.; Seats, First Circle, 5s.; Pit Stalls, 10s. 6d. Third Tier, Private Boxes, to hold Four, 10s. 6d.; ditto. Two Pair, 1. 1s.; ditto, One Pair, £1. 11s. 6d. ; Pit Tier, £1. 11s. 6d.; Grand Tier, £2. 2s. Early application to secure places is earnestly recommended, as being the only means of preventing disappointment. The Box-office of the Theatre is open daily from 10 to 6, and on the evenings of performance until the end of the opera.

HER MAJEST SMITH respectfully acquaints the subscribers and the

MAJESTY'S THEATRE.-Lessee, Mr. E. T.

public that his BENEFIT will take place on Thursday, July 19, when will be presented a favourite Opera and Ballet. Gallery, 3s.: Gallery Stalls, 5s.; Pit, 8s. 6d. Applications to be made to Mr. Nugent, Box-office of the Theatre, from 10 till 6 o'clock.

H

[ER MAJESTY'S THEATRE.-Called upon at a moment when Her Majesty's Theatre appeared to be perpetually closed, when a new rival had closed the doors of the legitimate Italian Theatre, to come forward and rescue a fane so long honoured by the élite of this country, I accepted the charge, and at once sacrificing every other feeling, every other interest, I became the lessee of Her Majesty's Theatre, which in an incredibly short time I cleaned out, embellished, and opened. Thus compelled to carry out arrangements of the most difficult and intricate kind, already a second in the field, forestalled by a talented and powerful empressario, I at once devoted myself to the task, and now appeal to my kind patrons, friends, and the public at large, how far I have carried out their views-how far I have redeemed my promise, and how far I have done honour or discredit to Her Majesty's Theatre. It is acknowledged that there are spots on the sun, and I do not hesitate to confess that some portion of my corps may be less perfect than I could have desired; to obtain the services of a superior chorus, to secure at a late period the impossible advan

tages of an orchestra, beyond reproach, was a work I found to be impracticable; I have, however, in these departments done my best; next year I will pledge myself to do better. The talented phalanx of opera singers (I believe I may, without arrogance assert) stands unequalled, unrivalled; while the artists engaged in the ballet department will fairly demonstrate that I have not neglected the time-honoured charms of terpsichorean art. Out of the repertoire announced at the commencement of the season, I have produced the following operas:-La Favorita, Otello, Il Trovatore, Ernani, La Traviata, Norma, Il Barbiere di Siviglia, Gil Ugonotti, Lucia di Lammermoor, Don Giovanni, Rigoletto, and Marta. From the several new operas promised, these have already been presented:—Almina, Semiramide, and Oberon; Le Nozze di Figaro being in course of rehearsal, and Cimarosa's celebrated buffo opera, Il Matrimonio Segreto, though not previously announced, has been most successfully performed. To remind the patrons and subscribers of Her Majesty's Theatre of such artistes as Mlle. TITIENS, Mile. PICCOLOMINI, Mad. LEMAIRE, Mile. VANERI, Signor GIUGLINI, Signor BELART, Signor VIALETTI, and Signor MONGINI, would be a work of supererogation; but in addition to these well-known favourites, Mad. ALBONI, Mlle. LOTTI DELLA SANTA, Mile. MARIA BRUNETTI, Mad. BORGHI-MAMO, Mlle. MICHAL, and Mad. MARIE CABEL, together with Signor EVERARDI, Signor GASSIER, Signor FELLAR, Herr STEGER, and the celebrated buffo singer, Signor CIAMPI, besides many other artistes unnecessary

ROYAL

OYAL ITALIAN OPERA, COVENT GARDEN. take place in the Theatre. The first part will consist of a Miscellaneous Selection, in which the following artists will take part-Mad. GRISI. Mlle. CORBARI, Mad. MIOLANCARVALHO, Signor TAMBERLIK, Signor GARDONI, M. ZELGER, Signor NERI-BARALDI, Signor POLONINI, Signor TAGLIAFICO, M. FAURE, Signor GRAZIANI, Signor RONCONI. After which will be performed (for the fourth and last time but one), Glück's opera, Orfeo e Euridice, Orfeo, Mlle. CSILLAG; Un Ombra, Mad. MIOLAN-CARVALHO; L'Amore, Mad. DIDIEE; Euridice, Mad. PENCO. Conductor, Mr. COSTA. The subscribers to the Opera for the Tuesdays of the season, as well as those for the first alternate weeks, will be presented with the entrée to the above performance. Box subscribers will receive boxes, and stall subscribers will receive stalls. FLOWER SHOW.-All the subscribers to the Opera present on the above occasion, as well as visitors to the Boxes, Pit Stalls, or Pit, will be admitted to the Flower Show in the Floral Hall, which will be illuminated, at the conclusion of the Opera. Prices of admission to the public:-Boxes-Grand and Pit Tiers, £4 4s.; First Tier, £3 3s. and £2 2s.; Second Tier, £1 11s. 6d.; Pit Stalls, 15s.; Pit, 5s.; Amphitheatre Stalls, 5s. and 3s.; Amphitheatre, Is. 6d. Doors open at half-past Seven, to commence at Eight.

ROY

OYAL ITALIAN OPERA, COVENT GARDEN.Meyerbeer's Grand Opera, LE PROPHETE, will be repeated on Monday next, July 16, being an extra night. On Tuesday next, July 17, will be performed Flotow's Opera, MARTHA. Principal characters by Mad. PENCO, Mad. DIDIEE, Sig. GRAZIANI, Sig. TAGLIAFICO, M. ZELGER, and Sig. MARIO.

TRENCH PLAYS.-ST. JAMES'S THEATRE.

Every Evening. Positively the Last Week but two. M. PAUL DEVAUX. Mile. DELPHINE FIX will appear in Les Pattes de Mouche, La fin de Roman, La Bonhomme Jadis. Orchestra Stails, 7s. 6d.; Balcony Stalls, 5s.; Pit, 2s.; Gallery, Is.; Private Boxes, from £2 28. Commence at 8 o'clock.

DEATH has been busy with our public men in this year

of grace, 1860. Not to glance at the high priests of science and philosophy, nor to quit the sphere of those who come under the category of artists-proper, and artistsexhibitant,-Jullien, Albert Smith, Robert Brough, have successively past away within a short interval. In the strictly musical line three distinguished performers-strange to say, all players on the violoncello-have been taken from us within as brief a space. The death of William Lovell

Phillips was speedily followed by that of George Hausmann ; and, upon the death of Hausmann, still more speedily came that of Louis Drechsler, who, first known in this country as a violoncellist, had long settled in Edinburgh as a teacher of singing. Of Herr Drechsler, a sensible and well-written notice, from the pages of the Edinburgh

Miles. SALVIONI, MORLACCHI, POCCHINI, CLAVRELI, MONCELET, and Mlle. CLAUDINA CUCCHI have brilliantly sustained the prestige that has invariably belonged to Her Majesty's Theatre, appended to which names those of Mlle. AMALIA FERRARIS, and M.CHAPPUY (who appear this evening), crown the completeness of this section of entertainment. It may not, perhaps, be considered out of place, having thus far given an account of my

past conduct, to state succinctly my future programme of the coming season, and I have great pleasure in notifying thus early to my patrons, subscribers, and the public generally, that I have just completed engagements with Mlles. TITIENS and PAREPA, together with Mr. SIMS REEVES and Mr. SANTLEY, who will appear in several English operas, in addition to MACFARREN'S Robin Hood, and W. V. WALLACE's Amber Witch,

column of this day's impression. A more amiable foreigner has perhaps never resided habitually among us, and with most of the praise bestowed upon his talent by our contemporary we can conscientiously agree. We have seen no such tribute, however, to the merits of the late Herr Hausmann in any of the Edinburgh or Glasgow papers; but may

-October next. If any available talent has ever sought an engagement in this country and has been rejected by me, if any composer of merit has found his works declined, if any novelty has been overlooked, then, indeed, I am unworthy of your patronage; but if my constant and unremitting exertions have tended to carry out your views, if I have done all a manager or a lessee could do, if my present and my past afford a fair gua rantee for my future conduct, then, indeed, I shall feel proudly conscious that in thus parting with you for a season, it will only be to renew those ties which you can so honestly again, I hope, bestow, and I can so gratefully receive.

E. T. SMITH, Lessee.

one or all of them. He too had periodically established himself in the Scottish capital; and though perhaps not the most musical of cities, "Auld Reekie" has never been insensible to the preference awarded it by men of eminence in whatever branch of human acquirement. Herr Hausmann,